The Thing Called Love (1993) Script

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHING TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* YOU'RE A REAL FINE WOMAN *

* AND YOUR HEART IS STRONG *

* YOU CAN SEE RIGHT THROUGH ME *

* AND YOUR LEGS ARE LONG *

* YOU DON'T GIVE ME NO TROUBLE *

* AND YOU DON'T TAKE MINE *

* YOU'RE THE REASON I'M LIVIN' *

* 'CAUSE YOU'RE THE REASON I'M TRYIN' *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHING TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* YOU DON'T SAY NOTHIN' BAD ABOUT NOBODY *

* YOU DON'T LIKE TALKIN' OUT OF SCHOOL *

* YOU MIGHT NOT TAKE ME FOR A WISE MAN *

* BUT YOU SURE DON'T TAKE ME FOR A FOOL *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *

* GOT ME SOMETHIN' TO LIVE FOR *

* STANDIN' ON A ROCK *

* GOT NOTHIN' TO PROVE *

* STANDIN' ON A ROCK *

* I'M STANDIN' ON A ROCK *

* STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* STANDIN' ON A ROCK *


* I COULD BE HAPPY FLYIN' AIRPLANES *

* I COULD BE HAPPY SELLIN' SHOES *

* I COULD BE HAPPY JUST DRINKIN' WATER, BABY... *

GOOD AFTERNOON, LADIES AND GENTLEMEN.

WELCOME TO NASHVILLE.

IN JUST A FEW MINUTES, WE'LL BEGIN BOARDING OUR 4:45 DEPARTURE FOR NEW YORK CITY.

HOWDY. HOW YOU DOING?

APPLICATIONS AND PENCILS ARE ON THE BAR.

DON'T STEAL THE PENCILS.

HURRY IT UP. DOORS CLOSE AT 4:05.

ANYONE NOT INSIDE AT 4:05 DOESN'T AUDITION.

[WHISTLES]

WHEN I CALL YOUR NAME, I WANT YOU TO COME UP ON STAGE.

IF IT'S YOUR FIRST TIME, I THINK YOU SHOULD KNOW THAT IF YOU DON'T PASS, IT JUST MEANS I DON'T THINK YOU'RE READY.

GO HOME AND KEEP ON WRITING AND COME ON BACK AGAIN.

YOU'RE GOING TO TRY OUT FOR WRITER'S NIGHT?

YEAH.

I'M A WRITER MYSELF.

I HAD A TOP 20 HIT LAST YEAR.

YOUNG WRITERS ALWAYS HATE IT WHEN I TELL THEM THAT.

I TELL THEM, LIVE FOR THE MOMENT.

DON'T GET A PICTURE OF WHEN YOU HIT

'CAUSE YOU AIN'T NEVER GOING TO BE IN THAT PICTURE.

ONE, TWO, UN, DEUX, TROIS.

THIS IS IT.

* SAYIN' GOODBYE *

DOESN'T MATTER WHAT IT LOOKS LIKE ON THE OUTSIDE.

IT'S WHAT'S GOING ON INSIDE THAT COUNTS.

THANKS.

WHAT TIME IS IT?

4:15.

WE'RE GOING TO HAVE TO DO SOMETHING ABOUT THIS.

YOU'RE HERE WITH ME.

I CHANGED A FLAT TIRE FOR YOU, WHICH IS WHY I'M LATE.

* FIND MY SHOE, CHERIE *

JAMES, YOU KNOW THE RULES--4:05.

I JUST STOPPED TO FIX THIS GIRL'S FLAT TIRE.

THAT WAS REALLY NICE OF YOU.

YOU ARE A REGULAR GOOD SAMARITAN.

NEXT TIME, LET THE CAB DRIVER CHANGE HIS OWN TIRE, AND YOU GET HERE ON TIME.

YOU SHOULD CONSIDER BREAKING ONE OF THOSE RULES SOMETIMES.

IT MIGHT BE LIBERATING, IF NOTHING ELSE.

HEY, I DON'T KNOW HIM.

THAT TIRE THING WAS HIS IDEA.

I JUST CAME HERE FROM THE BUS STATION, ALL THE WAY FROM NEW YORK.

LOOK, I KNOW I'M LATE, BUT I REALLY DID SUFFER TO GET HERE.

WHAT WAS YOUR NAME, HONEY?

MIRANDA PRESLEY... NO RELATION.

WELL, MIRANDA PRESLEY, NO RELATION, THERE IS NOTHING YOU CAN TELL ANYBODY IN THIS ROOM ABOUT SUFFERING.

THERE'S ANOTHER AUDITION NEXT WEEK.

HEY!

I DON'T APPRECIATE YOU INCLUDING ME IN YOUR LIE BACK THERE, ESPECIALLY WITHOUT ASKING ME.

WELL, THAT'S A FINE POINT TO MAKE.

THANK YOU.

O.K.

THERE MIGHT BE A SONG IN THAT.

HUH?

I WAS GOING TO ASK YOU OUT FOR A BEER, BUT I'VE SINCE CHANGED MY MIND.

WHAT IS THAT, SOME KIND OF LINE?

YES.

DOES IT WORK?

SOMETIMES. RARELY.

I'LL BET.

I MIGHT CHANGE MY MIND AGAIN.

MAYBE YOU SHOULD CHANGE YOUR LINE.

[RADIO PLAYS COUNTRY MUSIC]

[TIRES SCREECH]

THAT'LL BE $20.

I'LL PAY FOR THE WHOLE WEEK.

OH, THAT WON'T WORK.

WELL, THE STRIP IS SHOT.

THE CARD'S GOOD.

YOU CAN CALL IT IN IF YOU WANT.

NO NEED FOR THAT.

YOU SAID IT WAS GOOD.

NEVER DID COTTON TO THE IDEA OF TRUSTING A MACHINE OVER A PERSON.

YOU'VE GOT AN HONEST FACE, MIRANDA.

HAVE I GOT A ROOM FOR YOU.

* IT'S FUN TO STAY AT THE YMCA *

* IT'S FUN TO STAY AT THE YMCA *

* THEY HAVE EVERYTHING *

* FOR A YOUNG MAN TO ENJOY *

* OH *

* YOU DON'T MISS THE LOVE THE WAY I DO *

COME ON IN, SWEETIE.

YOU CAN SIT WHEREVER YOU WANT.

I'LL BE RIGHT WITH YOU. THANKS.

* A LADY SITTIN' ON HER OLD FRONT PORCH *

* WATCHIN' THE CHICKENS PECK THE GROUND *

* THERE AIN'T A WHOLE LOT GOIN' ON TONIGHT *

* IN THIS ONE-HORSE TOWN *

* OVER YONDER *

* COMIN' UP THE ROAD *

* IN A BEAT-UP CHEVY TRUCK *

* HER BOYFRIEND TOMMY *

* IS LAYIN' ON THE HORN *

* SPLASHIN' THROUGH THE MUD AND THE MUCK *

* HER DADDY SAYS *

* HE AIN'T WORTH A LICK *

* WHEN IT COMES TO BRAINS *

* HE GOT THE SHORT END OF THE STICK *

* BUT KATIE'S YOUNG *

* AND THEN SHE JUST DON'T CARE *

* SHE'D FOLLOW TOMMY ANYWHERE *

* SHE'S IN LOVE WITH THE BOY *

* SHE'S IN LOVE WITH THE BOY *

* SHE'S IN LOVE WITH THE BOY *

* AND EVEN IF THEY HAVE TO RUN AWAY *

* SHE'S GONNA MARRY THAT BOY SOMEDAY *

* KATIE AND TOMMY AT THE DRIVE-IN MOVIE *

* PARKED IN THE VERY LAST ROW *

* THEY'RE TOO BUSY HOLDIN' ON TO ONE ANOTHER *

* TO EVEN CARE ABOUT THE SHOW *

* LATER ON OUTSIDE THE TASTEE FREEZE... *

APPLICATIONS, PENCILS ARE ON THE BAR.

DON'T STEAL THE PENCILS.

I SURE HOPE SO.

* HER DADDY SAYS *

* THAT HE AIN'T WORTH A LICK *

* WHEN IT COMES TO BRAINS *

* HE GOT THE SHORT END OF THE STICK *

HEY, MY NAME IS LINDA LUE LINDEN, AND, UM, I'M FROM BRIAR HILL, ALABAMA, AND I JUST FINISHED THIS SONG, AND IT'S CALLED HEAVEN KNOCKED ON MY DOOR.

* I HAD A DREAM LAST NIGHT *

* AND THERE YOU WERE *

* STANDIN' BY MY BEDSIDE *

* DEVIL IN ANGEL'S CLOTHIN' *

* TALKIN' ABOUT YOUR CRAZY RIDE *

* I DIDN'T KNOW WHAT TO SAY AT FIRST *

* I COULDN'T GET BY THOSE WINGS *

* NOW HERE I AM IN THE MIDDLE OF THE NIGHT *

* TALKIN' TO AN ANGEL THAT SINGS *

UH, MIRANDA PRESLEY.

YEAH.

HI, MY NAME'S MIRANDA PRESLEY.

I'M FROM NEW YORK CITY, AND THIS SONG IS CALLED BIG BAR HAIR.

* YOU CAN SEE IT IN THE SHOPPIN' MALLS *

* 5-FOOT GIRLS 6 FEET TALL *

* 4-INCH HEELS, FAKE FINGERNAILS *

* SHE'S CHECKIN' OUT ALL THE SALES *

* YOU CAN SEE FROM A DISTANCE *

* SHE'S A GOOD OL' GIRL *

* SHE'S GETTIN' READY *

* TO TAKE ON THE WORLD *

* GONNA TORTURE MY HAIR *

* GONNA BURN IT BLOND *

* GONNA TEASE IT BEYOND REPAIR *

* GONNA CAMOUFLAGE THE BRAINS IN THERE *

* GETTIN' MY OWN *

* BIG BAR HAIR *

* YEAH, I'M GETTIN' MY OWN *

* BIG BAR HAIR *

ALL RIGHT. KYLE DAVIDSON.

HELLO, I'M KYLE DAVIDSON.

I'M FROM CONNECTICUT, AND THIS, UM...

I'M A LITTLE NERVOUS, BUT IT REALLY DOESN'T SHOW.

THIS IS CALLED I CAN'T UNDERSTAND.

* IF YOU COULD READ MY MIND *

* YOU'D KNOW HOW HARD I TRY *

* BUT LOSIN' WAS NOT MY PLAN *

* AND I CAN'T UNDERSTAND *

* WITH ALL THOSE TEARS I CRIED *

* I SHOULD'VE REALIZED *

* THAT I'D NEVER HOLD YOU AGAIN *

* AND I CAN'T UNDERSTAND *

* I CAN'T UNDERSTAND *

* WHY YOU LEFT MY LOVE BEHIND *

* I CAN'T UNDERSTAND *

* BUT I'LL LOVE YOU TILL THE END OF TIME *

* I SEARCH MY MEMORY *

ALL RIGHT, UH, JAMES WRIGHT.

OH, I'M SO NERVOUS, I CAN HARDLY STAND.

YOU OUGHT TO BE.

I ALREADY SOLD THIS SONG, AND I WROTE IT FOR A WOMAN TO SING, BUT WHAT THE HELL?

* YOU GOT A THING OR TWO TO LEARN ABOUT ME, BABY *

* 'CAUSE I AIN'T TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN', LOVIN' HEART *

* WELL, ALL I WANTED WAS TO BE YOUR ONE AND ONLY *

* BUT ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' HEART *

O.K., IF I CALL YOUR NAME, IT MEANS YOU'RE PLAYING HERE SATURDAY NIGHT.

BE HERE BEFORE 7:00.

NANCY BUTTERWORTH...

NICK BARRETT...

TOM MORTENSON...

JANET HOGAN...

JAMES WRIGHT...

AND ROSS MILLER.

THANK YOU ALL FOR COMING.

MISS MIRANDA.

COME OVER HERE A SECOND.

WE'RE JUST CONGREGATING.

CONGRATULATIONS.

THANK YOU. I APPRECIATE IT.

HEY, KYLE DAVIDSON.

LINDA LUE, IS THAT YOUR FACE I SEE?

WELL, IT AIN'T NOBODY'S BUTT.

YOUR SONG WAS PRETTY TONIGHT.

PRETTY BAD?

SO WHAT DID YOU WANT?

WHAT?

I'M JUST LOOKING AT YOU UP CLOSE.

THERE WAS SOMETHING THAT I--

BUT YOU CHANGED YOUR MIND?

EXACTLY.

I LIKED YOUR SONG.

THANKS.

I'M KYLE.

I LIKED YOUR SONG.

HI. MIRANDA.

I LIKED YOURS, TOO.

REALLY?

YEAH.

* SO WHEN WE MEET AS FRIENDS *

* MY HEART WILL BREAK AGAIN *

* IF THAT'S HOW THE STORY ENDS *

* THEN I CAN'T UNDERSTAND *

WOW. WOW.

WAS THAT EXACTLY KYLE'S SONG?

BECAUSE I HARDLY EVEN RECOGNIZED IT.

THAT WAS IT EXACTLY.

YOU GOT A GREAT EAR.

YOU GOT THAT FROM HEARING ME SING IT?

WELL, I DON'T KNOW IF THE TERM "SING" REALLY APPLIES--

OH...OH...OH...

HA HA HA!

THEY BUILD YOU UP AND THEN, THEY JUST TEAR YOU DOWN.

LIKE THEY ALL GOT THE SAME INSTRUCION MANUAL.

NICE TO MEET YOU. YOU TOO.

YOUR SONG WAS GREAT.

DO YOU LADIES HAVE ANY DESIRE TO ACCOMPANY US ON AN EXCURSION INTO HISTORY?

AND WHERE MIGHT YOU BE GOING?

A LITTLE MIDNIGHT RIDE MAYBE.

THIS, UH, CONNECTICUT YANKEE KYLE WANTS TO WRITE A COWBOY SONG.

THAT'S RIGHT, MA'AM.

YOU WANT TO GO?

UH, YEAH.

ALL RIGHT, THEN LET'S GO, LITTLE DOOGIES.

DOGIES.

DOOGIES.

DOGIES. COME ON.

LOOK AT THIS GUY.

HE'S SMILING FOR US.

THAT'S NO SMILE. THAT'S CONTEMPT.

I HAD A THIRD COUSIN WHO USED TO BE A RODEO CLOWN.

FUNNY THING IS, HE BROKE HIS NECK, AND HE DIED.

WELL, DON'T WORRY ABOUT ME.

I TOOK RIDING AT SUMMER CAMP.

YEAH, THE DUDE RANCH IN, WHAT, NEW ENGLAND?

[NEIGH]

HEY, HO!

WHOA!

KYLE DAVIDSON, YOU ARE A SIGHT TO BEHOLD, BABY!

WHOA!

* THE OLD GRAY MARE, SHE AIN'T WHAT SHE USED TO BE *

LOOK AT ME-- IN THE EYES.

HOW MANY FINGERS AM I HOLDING UP?

FOUR OR FIVE.

HOW MANY BEATLES WERE THERE?

THREE--AND RINGO.

ARE YOU O.K.?

HE'S JUST FUCKIN' WITH ME.

JUST A MINOR CONCUSSION, THAT'S ALL.

LINDA, CAN YOU PLEASE GET THE TRUCK?

MAKE SURE HE DOESN'T FALL ASLEEP.

GOT TO KEEP HIM AWAKE AND CONSCIOUS.

I'M JUST FINE.

WE HAVE SOME WORK ON THIS FENCE TO DO FOR MR. WILSON.

ARE YOU ALL RIGHT, HONEY?

THERE'S THIS TRADITION WHEN YOU FIRST GET TO NASHVILLE WHERE YOU HAVE TO GO TO THE TALLEST MOUNTAIN OR THE TOP OF A BUILDING AND YELL, "LOOK OUT, MUSIC CITY, 'CAUSE I'M HERE AND I AIN'T NEVER LEAVIN'!"

THAT'S REAL NICE.

I WASN'T SURE THAT SONG WAS ANY GOOD UNTIL I HEARD YOU SING IT TONIGHT.

OH, KYLE, IT'S A BEAUTIFUL SONG.

WILL YOU DO THE DEMO FOR ME, BECAUSE I DON'T HAVE ANYBODY ELSE?

I GOT THE CAR.

I'M SORRY.

PUT YOUR ARM AROUND THERE.

DR. ARLEN, REPORT TO ROOM 5703.

NOW, HONEY, I TOLD YOU BEFORE HE'S PERFECTLY FINE, BUT WE CAN'T RELEASE HIM.

COULD WE AT LEAST TALK TO HIM?

RELAX, AND I'LL LET YOU KNOW.

SO WHERE YOU BEEN STAYING?

UH, YOU KNOW THAT MOTEL NEAR THE BLUEBIRD?

THE DRAKE?

UNREAL. THAT'S WHERE I'M STAYING.

WHAT ROOM DID YOU GET?

UH, ROOM 108.

OH, MY GOD. THE DREADFUL DISCO ROOM.

HA HA!

YEAH. I KIND OF LIKE IT.

YOU SHOULD SEE MINE. IT IS SO GREAT.

IT'S ALL DONE UP AND EVERYTHING.

IT LOOKS SUPER.

COME OVER AND SEE IT SOMETIME.

MAYBE. YEAH.

YOU KNOW WHAT?

I'M GETTING AN IDEA THAT SINCE WE'RE BOTH AT THE SAME MOTEL, WHY DON'T WE SHARE MY ROOM, AND THEN WE CAN SAVE SOME MONEY?

YOU JUST MET ME.

YOU DON'T EVEN KNOW ME.

I'M AN EXCELLENT JUDGE OF CHARACTER.

I HAVE A TOUCH OF THE POWER, YOU KNOW.

DADDY, LOOK AT ME. ARE YOU O.K.?

ARE YOU THE DOCTOR?

YOU CAN'T COME IN.

DADDY, I'LL WAIT, O.K.?

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

DID YOU WRITE THAT YOURSELF?

YEAH, JUST NOW...

FOR YOU.

TO BE HONEST, UM, I'M NOT PARTICULARLY FOND OF HOSPITALS MYSELF.

THE TRUTH IS...

MY DAD WENT INTO AN EMERGENCY ROOM, AND I NEVER SAW HIM AGAIN.

THAT'S HIM.

HE LOOKS JUST LIKE ELVIS.

HE'S THE OTHER ONE WHO DOESN'T LOOK LIKE ELVIS.

OH.

HE GAVE THIS TO ME WHEN I WAS 10.

"MY DECITENNIAL ACCOLADE," HE CALLED IT.

HE HAD A NAME FOR EVERYTHING.

HE RAISED ME SINCE I WAS 5...

JUST ME AND HIM.

SO WHERE WAS YOUR MOM THROUGH ALL THIS?

UH, SHE SPLIT...

PRETTY EARLY ON.

PRESLEY'S MY MIDDLE NAME.

HE HAD THIS THING-- MY DAD--ABOUT ELVIS.

NOTHING WEIRD.

HE ALWAYS WANTED TO TAKE ME TO GRACELAND...

BUT WE NEVER MADE IT.

COME ON. THERE'S SOMETHING I WANT TO DO.

WHERE WE GOING, BABY?

NOW, DON'T DO IT

'CAUSE KYLE, THAT PSEUDO HICK, TOLD YOU TO.

IT'S A GRAND OLD NASHVILLE TRADITION.

I BET HE TELLS THAT TO ALL THE GIRLS WHO GET OFF THE GREYHOUND BUS.

TRADITIONS HAVE TO START SOMEWHERE.

LOOK OUT, MUSIC CITY, 'CAUSE I'M HERE NOW AND I AIN'T NEVER LEAVING!

THIS IS TERRIBLE. I CANNOT WATCH THIS.

LOOK OUT, MUSIC CITY, 'CAUSE I'M HERE NOW AND I AIN'T NEVER LEAVING!

IT'S JUST SO DESPERATE.

OH, WELL, IS THIS ALL BENEATH YOU, MR. COOL GUY?

IT'S NOT THAT I CAN'T DO IT.

IN FACT, I CAN DO IT BETTER THAN MOST.

OH. WELL THEN.

LOOK OUT, MUSIC CITY

'CAUSE HERE I AM AND I AIN'T NEVER LEAVING!

LOOK OUT, MUSIC CITY, 'CAUSE I'M HERE NOW AND I AIN'T NEVER LEAVING!

LOOK OUT, MUSIC CITY, 'CAUSE I'M HERE NOW AND I AIN'T NEVER LEAVING!

NICE VIEW, ISN'T IT?

I LIKE IT UP HERE.

YEAH. YEAH.

[ARF ARF]

HEY, THAT'S NOT NICE.

HE'S USUALLY NOT LIKE THAT.

MAYBE HE'S A LITTLE JEALOUS.

COME ON IN.

WELL, EXCUSE ME.

THIS IS IT.

THIS IS MY CASA.

IF YOU NEED ANYTHING, YOU JUST HELP YOURSELF.

UM, TAKE EITHER BED.

I'VE BEEN USING THIS ONE, BUT, UM, THAT ONE'S GOOD.

HEY, BUSTER.

OH, HIS NAME AIN'T BUSTER.

WHAT'S HIS NAME?

IT'S MR. DOG.

HOW DO YOU KNOW HIS FIRST NAME ISN'T BUSTER?

BECAUSE HE WOULD'VE TOLD ME BECAUSE WE DISCUSS PRACTICALLY EVERYTHING.

[TELEPHONE RINGS]

I'LL BET THAT'S FOR ME.

[RING RING]

HELLO?

[GROWLS]

HEY, MA.

NO, I JUST GOT IN THIS SECOND.

YEAH. NO, EVERYTHING'S FINE.

EVERYTHING'S GREAT.

YEAH, AS A MATTER OF FACT, I PASSED MY AUDITION.

YEAH, WELL...

WAITING FOR YOU TO TAKE A BREATH, MA, SO I CAN GET A WORD IN EDGEWISE.

YEAH, THEY SAID, "JUST LIKE LORETTA LYNN."

WHERE ARE YOU GOING?

UH, I'M JUST GOING TO THE COFFEE SHOP.

DON'T WAIT UP.

I SENT YOU TWO MONEY ORDERS.

ARE YOU LISTENING TO ME?

I'M LISTENING, MAMA.

OH, THANKS.

THIS STUFF'S KEEPIN' YOU AWAKE.

THAT'S THE GENERAL IDEA.

WHAT YOU NEED IS SLEEP, HONEY.

HEY, UM, I WAS JUST WONDERING IF I GAVE YOU THE SPARE ROOM KEY.

YEAH, YOU DID.

YOUR PAJAMAS HAVE FEET?

UM...

UH, I UNPACKED SOME OF YOUR STUFF FOR YOU.

I PUT YOUR T-SHIRTS IN THE SECOND DRAWER.

YOUR UNDERTHINGS, I PUT THOSE IN THE TOP DRAWER, AND EVERYTHING ELSE I PUT IN THE CLOSET, LEFT TO RIGHT, LIGHT TO DARK.

YOU HAVE A LOT OF BLACK.

O.K., GREAT.

SEE, I CAN'T EVEN WEAR BLACK.

IT JUST COMPLETELY WASHES ME OUT.

MMM.

YOU AIN'T MAD AT ME, ARE YOU?

NO. NO. I JUST, UM, I CAME HERE TO BE ALONE SO I COULD GET SOME WORK DONE.

SO, UM, IT'S NOTHING PERSONAL. I JUST...

OH. OH, I'M SORRY. I'M SORRY.

YOU KNOW, SOMETIMES PEOPLE AREN'T EXACTLY THE PERSON YOU MIGHT THINK THEY ARE WHEN YOU FIRST MEET SOMEONE.

* YOU GET PLENTY OF TOO LITTLE *

* TOO MUCH OF NOTHIN' AT ALL... *

IF IT AIN'T LITTLE MISS "GETTIN' MY OWN BIG BAR HAIR."

I'M WORKIN' ON THAT LINE.

UH, IS LUCY AROUND?

YOU MUST BE HERE TO SEE ABOUT THE WAITRESS JOB.

I'M NOT A WAITRESS. I'M A WRITER.

I CAN'T TELL THE DIFFERENCE ANYMORE.

LUCY, COME ON OUT HERE.

O.K., JUST A MINUTE. I'M COMIN'.

YOU CAN CALL ME FLOYD.

HI. MIRANDA.

I KIND OF HELP RUN THIS PLACE.

WELL, MIRANDA PRESLEY, NO RELATION.

WHAT CAN I DO FOR YOU?

SHE'S HERE ABOUT DARCY'S JOB.

DARCY QUIT WHEN SHE GOT A JOB WITH RODNEY CROWELL SINGIN' BACKUP.

SHE MET HIM RIGHT HERE.

SLIPPED HIM A TAPE, WHICH IS AGAINST THE RULES.

WELL, I AM HERE TO SEE YOU, LUCY.

SURE. FLOYD, I'M GOING TO NEED THAT FRYER WORKIN' BY TONIGHT, NOW.

HAVE I EVER LET YOU DOWN?

REPEATEDLY.

I WANTED TO ASK YOU ABOUT MY AUDITION.

YOU WANT TO KNOW WHAT I THOUGHT WAS WRONG WITH YOUR SONG?

OR WHAT YOU LIKED ABOUT IT.

THAT WOULD BE O.K., TOO.

WELL, I THOUGHT YOUR MELODY WAS REAL NICE.

YOU'RE A GOOD PERFORMER, HON.

YOU LOOKED RIGHT AT HOME ON STAGE.

BUT...

WELL, YOUR SONG IS A NOVELTY SONG, AND MAYBE YOU NEED TO DIG IN A LITTLE DEEPER.

LET ME SHOW YOU SOMETHING.

YOU KNOW WHAT'S IN HERE?

THESE ARE ALL REALLY GREAT SONGS THAT WERE SUNG HERE FIRST.

THEY'RE NOT ALL HITS, BUT THEY'RE REALLY SPECIAL SONGS.

SOME OF 'EM TOOK 10 MINUTES, SOME TOOK 10 YEARS, BUT EVERY ONE OF THESE WRITERS FOUND A WAY TO SAY SOMETHING THAT MEANT SOMETHING TO 'EM.

YOU KNOW, COUNTRY MUSIC TRIES ITS BEST TO BE HONEST WITH ITSELF, AND WHEN IT'S SAD, IT SAYS IT'S SAD.

O.K.

THANKS, LUCY.

LISTEN, MIRANDA, I KNOW YOU'RE NOT INTERESTED IN THIS WAITRESS JOB.

IF YOU CHANGE YOUR MIND, THE HOURS ARE 4:00 TO CLOSING, AND NO PASSING TAPES TO THE CUSTOMERS.

EXCUSE ME.

DID I THANK YOU FOR BRINGING GLAMOR AND EXCITEMENT INTO MY DREARY LIFE?

I NEED A LIFE.

LOOK AT THIS.

THIS GUY WANTS ME TO STRIP AT HIS OFFICE PARTY.

DON'T DO IT, DARLING. THEY'RE GOING BANKRUPT.

GOOD REASON.

[JAMES] THIS SONG'S CALLED LONE STAR STATE OF MINE.

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

* THE MORE I HURT *

* THE LESS I FEEL *

* THE MORE I KNOW *

* THE LESS I REST IN THIS *

* LONE STAR *

* STATE OF MINE *

* SAY IT STRAIGHT, DON'T *

* BEND MY EAR *

* WHEN I'M WALKIN' LOST *

* IN OUR EVENING AIR, YOU *

* TWO-STEP INTO MY *

* IDLE HOME *

* TEARIN' MY SONG ALL UP WITH *

* MINOR CHORDS NOW *

* THE MORE I SULK *

* THE LESS I WORK *

* THAT CAN'T BE GOOD FOR SOME *

* BOY OUT OF LUCK *

* OUT OF TOUCH, OUT OF LUST *

* OUT OF SOUL *

* AND OUT OF SONG *

* THE MORE I HURT *

* THE LESS I FEEL *

HEY.

YOU PLAY A MEAN CELLO.

THANKS.

IT'S JUST A BIG MANDOLIN, REALLY.

HEY, HOW--HOW DO YOU LIKE NASHVILLE SO FAR?

I'M WRITING A SONG ABOUT A WAITRESS WHO KILLS HERSELF.

YEAH, IT'S--IT'S-- IT'S TOUGH.

WHEN I FIRST CAME HERE, I WENT TO THE ROOF AND TOLD THE WHOLE TOWN I'M NOT LEAVING.

YOU REALLY DID THAT? I DID, TOO.

I KNOW. I HEARD YOU.

THE WHOLE HOSPITAL HEARD YOU.

IN FACT, THAT'S MY FAVORITE THING ABOUT YOU SO FAR.

YEAH?

WELL, UM, I'M GONNA...

JAMES, TRUST IS LIKE AN ICE CUBE--

ONCE IT MELTS, IT'S GONE.

SO IN THAT REGARD, I'VE HEARD SOME THINGS.

YOU'RE SPEAKING OF R.C. ROBERTS.

WE HAD OUR TROUBLES--

I HEARD YOU KNOCKED HIM OUT.

YES, I KNOCKED HIM-- NO, I DIDN'T.

I HIT HIM, BUT YOU KNOW--

DID YOU SIGN A CONTRACT WITH R.C. ROBERTS?

NO.

I WOULD HAVE PASSED ON ELVIS IF HE HIT SOMEBODY. KNOW WHY?

'CAUSE I CAN.

YEAH, WELL, THAT'S GOOD.

NOW, IT'S NOT THAT I'M DISINTERESTED.

UNDERSTOOD.

UM, YOU'RE JAMES, RIGHT?

YES, MA'AM.

THIS A&R GUY HAD TO LEAVE, BUT HE WANTS YOU TO CALL HIM TOMORROW.

WELL, THANK YOU, DEAR.

YOU'VE HEARD MY MUSIC.

YOU KNOW WHAT IT'S ABOUT.

IF YOU HAVE ANY INTEREST, CALL.

WHY WOULD I NOT BE INTERESTED?

WELL, NOW, I, UH, AM INTERESTED, YES.

VERY INTERESTED.

CALL YOU FIRST THING TOMORROW.

FIRST THING. GOT IT?

DOUG SISKIN. FIRST THING.

THANK YOU. THANK YOU SO MUCH.

WELL, FORGET ABOUT IT.

I'M NOT GOING TO FORGET IT.

IN FACT, I OWE YOU.

IF YOU REALLY MEAN THAT, I KNOW WHAT I WANT.

WHAT'S THAT?

HOW ABOUT WE WRITE A SONG TOGETHER?

O.K. WELL, LET'S GO TO THE MOVIES, THEN.

THE MOVIES?

I DON'T WANT TO GO TO THE MOVIES.

* COME ON, BABY *

I WANT TO WRITE A SONG.

[MIRANDA] SO WHAT'S THIS MOVIE ABOUT?

[JAMES] THE OLDEST STORY IN THE BOOK--

TWO GUYS AND A GIRL.

JOHN WAYNE AND JAMES STEWART AND VERA MILES.

WHAT HAPPENS?

WELL, LET'S SEE.

* OH, JOHN AND JIMMY *

* THEY BOTH LOVED MISS VERA *

* NOW YOU KNOW IN TIME *

* SOMETHING'S BOUND TO GO WRONG *

* THEY LOVE THE SAME GIRL *

* BUT SHE'S UNDECIDED *

* LOOKS LIKE JOHNNY AND JIMMY *

* WILL FIGHT BEFORE LONG *

* THE WORLD GOES AROUND *

* AND WE'RE ON IT REGARDLESS *

* SOMETIMES IT'S WARM *

* SOMETIMES COLD AND HEARTLESS *

YES.

* WE ALL HAVE SOMETHIN' *

* THAT WE'RE IN SEARCH OF *

* A DREAM COMIN' TRUE *

* LIFE FULL OF LOVE *

OH, THAT'S DAMN GOOD.

NO.

IT'S GOOD.

ALL RIGHT, IT'S GOOD.

THAT DOOR SOMETIMES STICKS.

HERE, LET ME HELP YOU WITH THAT.


I SHOULD CALL YOU SOMETIME.

YEAH, YOU SHOULD.

GOOD NIGHT, MOODY.

[DOG BARKS]

SHH.

SHH!

LUE, WAKE UP.

I'M AWAKE.

THERE'S A MAN OUTSIDE THE ROOM.

OH, IT'S PROBABLY BILLY.

WHO'S BILLY?

WE HAD A DATE.

HE'S NOT REAL BRIGHT, BUT HE PLAYS REAL GOOD GUITAR.

YEP, THAT'S BILLY.

DOESN'T BILLY HAVE A HOME?

YEAH. IT'S JUST WHEN HE DROPPED ME OFF TONIGHT, I TOLD HIM I WASN'T SLEEPING WITH HIM.

BASICALLY, I'VE DECIDED THAT THE ROAD TO LOVE IS A ONE-WAY STREET, AND SEX AIN'T NOTHIN' BUT A ROADBLOCK.

HE SAYS HE'LL SLEEP THERE TO BE NEAR ME, AND I SAY GO AHEAD, CATCH A COLD.

HE ENDED UP DOING IT. ISN'T THAT NICE?

HMM.

OH, SPEAKING OF NICE, LOOK WHAT ELSE HE GAVE ME.

WHAT'S THAT?

THIS.

MISS NASHVILLE PAGEANT.

MM-HMM. THERE'S PRIZES AND SCHOLARSHIPS, AND THE FINALIST GETS TO GO TO THE MISS TENNESSEE PAGEANT IN JACKSON.

WHAT DO YOU THINK?

I THINK I DON'T WANT TO BE MISS NASHVILLE.

OF COURSE YOU DON'T WANT TO BE MISS NASHVILLE.

YOU ALREADY KNOW WHAT YOU WANT TO DO WITH YOUR LIFE.

YOU'RE LUCKY.

WHAT'D YOU END UP DOING TONIGHT?

I, UH, WENT OUT WITH JAMES.

REALLY?

HOW'D THAT TURN OUT?

IT WAS INTERESTING.

INTERESTING, HUH?

YOU GOING TO END UP STAYING UP ALL NIGHT IN THAT STUPID DINER WRITING SONGS?

MIRANDA?

HMM?

UH...

YEAH.

HEY.

HEY.

WELL, I'M WORKING ON A SONG ABOUT INSOMNIA.

WHAT'S YOUR EXCUSE?

BREAKFAST?

DESSERT.

I'VE MANAGED TO GET STUDIO TIME TOMORROW AT 2:30.

A.M.?

YEAH.

GREAT.

GOOD. I'LL PICK YOU UP.

ALL RIGHT.

WHY DIDN'T YOU CALL?

WHEN?

NOW. ABOUT SINGIN' ON THE DEMO.

UH...

I WANTED TO SEE YOU...AGAIN.

OH.

O.K.

GOOD NIGHT.

GOOD MORNING.

I'M GOING TO GO WRITE SOME MORE OF THOSE GOOD SONGS.

YEAH, WRITE A GOOD ONE FOR ME.

I WRITE THEM ABOUT YOU.

[DOOR OPENS]

YOU'RE GOING TO NEED MORE MARSHMALLOWS.

LUE?

LINDA LUE.

[GROWLING]

OH, MR. BUSTER DOG, THE ONLY UNFRIENDLY CREATURE IN ALL OF NASHVILLE.

MISS LINDA LUE LINDEN, IF YOU HAD TO CHANGE ONE THING ABOUT THE U.S., WHAT WOULD THAT BE?

WELL, BOB, I JUST THINK AMERICA'S THE MOST WONDERFUL PLACE IN THE WORLD.

YOU LOOK GREAT!

I FIGURE IF I WIN MISS NASHVILLE, I CAN FINALLY EXPRESS MY NATURAL TALENT.

YEAH, SURE.

YOUR BOYFRIEND LOOKS A LITTLE OVERCOOKED.

HE'S GETTING SCORCHED.

HONEY. OUCH.

SHOULD WE TURN HIM OVER?

YEAH.

YOU KNOW, MIRANDA, YOU MAY NOT KNOW THIS SINCE YOU'RE ASLEEP DURING MOST OF MY WAKING HOURS, BUT I'VE BEEN HAVING SOME SERIOUS DOUBTS ABOUT MY CAREER AS A SONGWRITER.

I MEAN--

HOLD IT. LIFT.

I'LL NEVER BE AS GOOD AS YOU, AND YOU'RE NOT EVEN GETTIN' ANYWHERE.

THANKS.

NO, I DIDN'T-- YOU KNOW.

I KNOW.

YOU REALLY DO LOOK BEAUTIFUL.

REALLY?

YOU SURE EVERYTHING'S ENOUGH, LIKE THE--

OH, IT'S DEFINITELY ENOUGH.

IN FACT, UH, WHAT DID YOU DO, FOLLOW SOME BEAUTY QUEEN HANDBOOK ON, UH, USING ALL YOUR MAKEUP THAT YOU OWN?

MM-MMM.

SPIT.

[SPITS]

THANK YOU.

SO, UM, HAS HE CALLED YET?

I DON'T KNOW. HAS HE CALLED YET?

UH-UH.

SPIT.

HE WILL.

IF HE DOESN'T, HE'S JUST A BIG OL' DUTY-HEAD.

GOD, YOUR SKIN IS SO LUMINOUS UNDERNEATH ALL THIS GUNK.

YOU KNOW, YOU'RE MY VERY BEST FRIEND, YOU KNOW THAT?

THAT'S 'CAUSE YOU'RE SUCH A SAP, LUE.

[BILLY] CHICKEN AND MARSHMALLOWS IS COMPLETELY DIFFERENT.

HE'S SO RETARDED.

* I WAS BORN TO RAMBLE *

* I WAS BORN TO STRAY *

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

HO. WHOA.

I REALIZE IT'S GETTIN' LATE.

GOT AN IDEA PERTAINING TO THE ENDING.

LET'S LEAVE OFF THAT LAST CHORD.

LET'S END ON THE THREE.

TAKE OUT THE ANTICIPATION?

TAKE OUT THE ANTICIPATION. EXACTLY.

DON'T RESOLVE IT?

NO RESOLVE.

LET'S TRY IT.

WHERE DO YOU WANT TO TAKE IT FROM?

THE LAST THREE.

1...2...3.

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

* LIKE A ROLLIN' STONE *

* DOWN THE LOST HIGHWAY *

IT'S RIGHT HERE. BRING IT DOWN.

YEAH, MAN.

YEAH, MAN.

HEY, LET'S GO.

OKAY.

ONE, TWO, ONE, TWO, THREE...

I LEARNED WHAT SARCASM WAS.

UH, MY BROTHERS AND I WERE MAKING MODEL AIRPLANES, AND I SPILLED A LITTLE RED BOTTLE OF PAINT, AND MY BROTHER SEAN SAYS, "KYLE, THANK YOU.

THANK YOU, KYLE."

I COULDN'T FIGURE OUT WHAT HE MEANT FOR THE LIFE OF ME.

SARCASM WAS IMPORTANT IN MY FAMILY, BUT, SEE, THAT'S WHAT'S GOOD ABOUT COUNTRY MUSIC.

THERE'S NO SARCASM.

IT'S JUST STRAIGHTFORWARD.

MAKES YOU LAUGH OR CRY. THAT'S IT.

OH, I DON'T KNOW.

I REALIZE I DON'T REALLY BELONG IN NASHVILLE, BUT, UM...

THAT'S WHY I TRY SO HARD.

ME, TOO.

[MEN TALKING]

WELL, MUCH OBLIGED, STEPHEN.

I OWE YOU, WHAT, 20 MINUTES?

NO. NEXT TIME I GO FIRST.

IT'S THAT SIMPLE.

HI.

HEY, HEY.

WHAT'S THE STORY WITH YOU AND JAMES?

I'D BE CURIOUS TO KNOW MYSELF.

* CAN'T UNDERSTAND *

* WHY YOU LEFT MY LOVE BEHIND *

* CAN'T UNDERSTAND *

* BUT I'LL LOVE YOU TILL THE END OF TIME *

* I SEARCH MY MEMORY *

* FOR THE REASON YOU DON'T LOVE ME... *

KNOW WHO WOULD BE GREAT FOR THIS SONG?

TRISHA YEARWOOD.

AND I KNOW HER.

YEAH?

WELL, YEAH.

I DELIVERED A PIZZA TO HER HOUSE ONCE.

YOU SHOULD GIVE THIS TO HER.

YEAH, RIGHT.

THIS SONG IS BETTER THAN MOST STUFF ON THE RADIO.

YOU ALWAYS THINK THAT WHEN YOU'RE THE ONLY ONE THAT'S HEARD IT.

I JUST GOT TWO WORDS FOR YOU, KYLE DAVIDSON.

YEAH? WHAT?

NO WONDER.

NO WONDER.

NO WONDER WHAT? WHAT?

WHAT DO YOU THINK?

WHAT, THAT I STILL WORK IN A RECORD STORE, THAT I'M JUST ANOTHER GUY THAT NEVER DID WHAT HE SAID HE WAS GOING TO DO?

I SIT AROUND. I PLAY AROUND.

I NEVER GET AROUND TO PUTTING MY STUFF OUT.

YOU'RE TALENTED.

IT DOESN'T MATTER IF YOU'RE AFRAID OF THE DISAPPOINTMENT.

I GOT TO DO SOMETHING TO GET MY SONGS HEARD.

YOU'RE RIGHT.

WHAT DO YOU THINK I SHOULD DO?

COME WITH ME.

OH-HO.

I GUESS I WILL, THEN, HUH?

I THINK YOU SHOULD!

YOU SURE THIS IS YEARWOOD'S HOUSE?

YEAH.

YEAH, PEPPERONI AND MUSHROOMS.

I'M SURE.


WOW.

DON'T SCRATCH IT.

GIVE ME THE THING.

THE THING?

YOU DON'T EVEN KNOW WHAT TO CALL IT.

I THOUGHT YOU'D DONE THIS BEFORE.

WHAT DO YOU THINK I AM, A CRIMINAL?

I HAD A BOYFRIEND WHO'S DOING TIME FOR THIS.

TIME? HOW MUCH TIME?

18 MONTHS.

THAT'S A YEAR AND A HALF!

JOKE.

BAD JOKE.

GIVE ME THE TAPE.

[CAR ALARM SOUNDS]

WE GOT TO GO!

LET ME PUT THE TAPE IN.

IT'S GOT MY NAME ON IT!

HOW ELSE WILL SHE KNOW?

SHE'S GOING TO KNOW I BROKE INTO HER CAR!

THAT'S THE ONE DRAWBACK.

I CAN'T BELIEVE--

I'M GOING TO GET THE TAPE.

KYLE, FORGET THE TAPE!

WHERE'S EJECT? WHERE'S EJECT?

[SIREN]

SINCE WHEN DID COPS START RESPONDING SO FAST?

THERE'S NOTHING I CAN DO.

WE WEREN'T TRYING TO STEAL ANYTHING.

WE WERE GIVING HER A TAPE.

WELL, IN THAT CASE, I'LL HAVE TO LET YOU GO, WON'T I?

DON'T ARREST HER. IT WAS MY TAPE.

SHE JUST BROKE INTO THE CAR FOR ME.

BELIEVE IT OR NOT, YOU DON'T GET TO DECIDE WHO WE ARREST.

* SHE'S IN LOVE WITH THE BOY *

* MM-HMM *

* SHE'S IN LOVE WITH THE BOY *

* MM-HMM *

* AND EVEN IF THEY HAVE TO RUN AWAY *

* SHE'S GONNA MARRY THAT BOY SOMEDAY *

RIGHT HERE'S YOUR PERPETRATORS, MISS YEARWOOD.

HI. KYLE DAVIDSON.

IT'S A PLEASURE TO MEET YOU.

HI.

THIS IS MIRANDA PRESLEY.

HI.

HI. HONORED.

WELL, Y'ALL ARE REALLY POLITE FOR HARDENED CRIMINALS.

OH, THANKS.

WHICH ONE JIMMIED MY CAR DOOR OPEN?

SHE WASN'T TRYING TO STEAL IT, THOUGH.

THANKS FOR NOT SCRATCHING IT.

ARE YOU THE ONE SINGING ON THE TAPE?

YOU LISTENED TO THE TAPE?

IT'S HIS SONG.

I GUESS THIS SONG'S AVAILABLE, OR ARE YOU WAITING TO HEAR FROM EVERYBODY ELSE WHOSE CAR YOU BROKE INTO?

NO, YOURS WAS THE ONLY CAR WE BROKE INTO.

OH. WELL, I'M FLATTERED.

I JUST WISH I WASN'T FLATTERED THIS LATE.

IS YOUR PHONE NUMBER ON THE TAPE?

I'M GOING TO HAVE MY MANAGER CALL YOU ABOUT PUTTING THE SONG ON HOLD.

MISS YEARWOOD, DO YOU WANT TO PRESS CHARGES?

I JUST WANT TO GET SOME SLEEP.

GOOD NIGHT.

THAT MEANS NO.

CONGRATULATIONS, SON.

UH, MISS YEARWOOD, EXCUSE ME.

SINCE YOU'RE LOOKING FOR NEW MATERIAL.

[RAILROAD CROSSING BELL RINGING]

[BILLY] GO ON, LINDA LUE.

I DON'T WANT TO MISS THE DANCE.

NO, WAIT. LINDA, DON'T.

THAT TRAIN'S GOING TO BE COMIN' AROUND THE BEND, SO LET'S HOP THE FREIGHT.

EXCUSE ME?

COME ON, IT'S AN OLD COUNTRY TRADITION.

THE TRACKS GO RIGHT BY THE FULL MOON DANCE.

REMEMBER WHAT HAPPENED LAST TIME?

HERE IT COMES. ARE YOU KIDDING ME?

YOU WANT TO WRITE COUNTRY SONGS.

THERE'S NOTHING MORE COUNTRY THAN A FREIGHT TRAIN.

KYLE.

MY GOD.

KYLE!

YOU GONNA BREAK YOUR FOOL NECK!

GO ON!

I'LL MEET YOU AT THE NEXT CROSSING THERE.

I HAD A COUSIN WHO ONCE THREW HIMSELF IN FRONT OF A TRAIN.

ONCE?

ONCE PRETTY MUCH DID THE TRICK.

I WISH YOU'D STOP TELLING THAT STORY.

WHY ARE WE LETTING HIM GET ON THAT STUPID TRAIN?

KYLE! COME ON!

[LINDA LUE] KYLE DAVIDSON, GET BACK HERE!

KYLE! HEY, KYLE!

YOU'RE GOING TO GET YOURSELF HURT!

KYLE!

[MIRANDA] KYLE, YOU'RE GOING TO HURT YOURSELF!

SO STUBBORN!

YOU'RE SO STUBBORN, KYLE!

KYLE! KYLE!

KYLE! KYLE!

[WHISTLE BLOWS]

CAREFUL, Y'ALL.

KYLE!

KYLE!

WHERE IS HE?

O-O-OVER HERE.

HI.

I--I SLIPPED.

* HEY, PORTER *

* HEY, PORTER *

* WON'T YOU TELL ME *

OW! * THE TIME? *

* HOW MUCH LONGER BEFORE WE CROSS... *

ARE YOU SURE YOU'RE O.K.?

SURE YOU DIDN'T BREAK ANYTHING OTHER THAN YOUR PRIDE?

NO, I'M O.K., I THINK.

SURE DO ENJOY PAIN, DON'T YOU?

WELL, YEAH, AND HEARTACHE.

YEAH, I'M...

COME ON.

BIG JERK.

YOU THINK THIS IS FUNNY?

THIS ISN'T FUNNY.

PEOPLE THAT YOU KNOW, THEY GET KILLED.

YOU DIE, AND YOU DON'T COME BACK.

THAT'S IT.

NOT FUNNY.

WHAT'S THE MATTER WITH HER?

COME ON. GET UP.

YOU GAVE HER A LITTLE SCARE, THAT'S ALL.

I DIDN'T MEAN TO DO THAT.

* BROKEN DREAMS *

* ARE HARD ENOUGH... *

COME ON, Y'ALL.

LET'S SHOW THEM WHAT WE GOT.

DON'T SHOW YOURS, BILLY. YOU MIGHT SCARE SOMEONE.

WELL, THANKS A LOT, LINDA LUE.

* THE BIG BAD LOVE... *

YOU'RE NOT STILL MAD AT ME, ARE YOU?

YES.

REALLY?

NO.

GOOD.

'CAUSE I'M--I'M SORRY.

YOU SHOULD BE.

OHH.

I GOT YOU.

THANKS.

* A HAPPY ENDING *

* IS WHAT YOU WANT... *

NO, STAY HERE.

* SOME AIN'T WELL *

* AND SOME WELL GONE *

* IT CAN'T BE *

* FOR HEAVEN'S SAKE *

* WE AIN'T TWO PEOPLE *

* ON THE TOP OF THE GAME *

* OHH... *

COME ON, YOU TWO.

* THE BIG BAD LOVE *

* YOU CAN HUFF AND PUFF *

* BUT THAT AIN'T ENOUGH *

* TO BE THE KIND OF MAN *

* THAT A GIRL DREAMS OF *

* WHO'S AFRAID OF THE BIG BAD *

* WHO'S AFRAID OF THE BIG BAD LOVE? *

* YOU CAN HUFF AND PUFF *

* BUT THAT AIN'T ENOUGH *

* TO BE THE KIND OF MAN *

* THAT A GIRL DREAMS OF *

* WHO'S AFRAID OF THE BIG BAD LOVE? *

* BIG BAD LOVE *

* BIG BAD LOVE *

* BIG BAD LOVE *

* THE BIG BAD LOVE *

* THE BIG BAD LOVE *

ALL RIGHT.

WHOO! WHOO!

WHOO!

YEAH! WHOO!

WHOO! WHOO!

WHOO! WHOO!

WHOO!

WHAT?

ALL RIGHT, EVERYBODY.

I WANT TO INTRODUCE YOU TO A FRIEND OF MINE FROM MY HOME STATE OF TEXAS.

THIS IS JAMES WRIGHT--

SINGER, SONGWRITER.

VERY GOOD.

DID YOU KNOW HE WAS GOING TO BE HERE?

I HAD NO IDEA.

I SWEAR.

WELCOME, JIM.

JIM. I LIKE THAT.

1, 2, 3, 4.

* UNTIL NOW *

* I'VE BEEN BLIND *

* UNTIL NOW *

* I'VE BEEN WASTIN' TIME *

* I'VE BEEN LOST *

* ON STREETS OF PLENTY *

* I'VE BEEN TOSSED *

* ON ICY SEAS *

* AND ALL I'VE CROSSED *

* AIN'T WORTH A QUARTER *

* IT'S MUDDY WATER *

* UNTIL NOW *

* THERE'S A LIGHT *

* THAT SHINES FOREVER *

* THERE'S A LIGHT *

* THAT SHINES FOR ME *

* THERE'S A LIGHT *

* MY FOOTSTEPS GUIDIN' *

* FOR I HAVE BEEN HIDIN' *

* UNTIL NOW *

THANK YOU.

THANK YOU.

I WROTE THIS NEXT SONG FOR A WOMAN TO SING.

SO I GUESS WE BEST GET ONE UP HERE.

I'D LIKE TO INVITE UP HERE ON STAGE WITH US MISS MIRANDA PRESLEY.

SHE'S ONLY HEARD THIS SONG ONCE, HOWEVER I HAPPEN TO KNOW SHE'S A...

QUICK STUDY.

SHE'LL PICK IT RIGHT UP.

DALE, YOU GOT THE LYRICS?

RIGHT HERE.

ALL SET?

LET'S HIT IT.

1, 2...

1, 2.

[MUSIC PLAYS]

* YOU GOT A THING OR TWO *

* TO LEARN ABOUT ME, BABY *

* 'CAUSE I AIN'T TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN', LOVIN' HEART *

* WELL, ALL I WANTED *

* WAS TO BE YOUR ONE AND ONLY *

* BUT ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN', LOVIN' HEART *

* ARE YA HEADIN' FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* GIRL, YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU WENT AND DONE ME, HONEY *

* AND WHEN SHE DOES YOU *

* LIKE SHE'LL DO *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN', LOVIN' HEART *

* YEAH, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMING', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

WHOO!

YEAH!

WHOO!

THANK YOU.

THE LOVELY AND TALENTED MISS MIRANDA PRESLEY.

THANK YOU.

NEXT UP...

WAY TO GO.

THANK YOU. THANKS.

THAT WAS BEAUTIFUL, MIRANDA.

THANKS. THANKS.

BEAUTIFUL, SWEETHEART.

THANK YOU, JAMES. THANK YOU, MIRANDA.

WE'RE GOING TO BRING UP A FRIEND...

YOU DID GOOD, JAMES.

IT SOUNDED WONDERFUL.

JAMES...

R.C...

FANCY MEETING YOU HERE.

EXCUSE ME A SEC.

WE'LL TALK LATER.

UH...

PRESLEY...

WHERE YOU OFF TO?

UH, HAVE YOU SEEN KYLE AROUND?

KYLE? I HAVEN'T SEEN KYLE.

I SEEN HIM DANCING WITH YOU EARLIER.

FINE PERFORMANCE YOU GAVE.

YOU'RE GOOD ON THE SPOT.

JAMES, WHY DIDN'T YOU CALL ME?

CALL YOU?

YEAH.

WHEN?

EVER.

WELL, FOR THE SAME REASON I WAS SO MEAN TO...

JULIE-- WHAT WAS HER NAME IN SECOND GRADE--

'CAUSE I LIKED HER.

THAT'S WHY.

OH.

SO THEN THAT'S WHY YOU BLEW ME OFF WHEN I SAW YOU LAST TIME AT THE STUDIO?

WELL, I SEEN YOU THERE WITH KYLE, AND, UM...

I WAS A BIT OFF GUARD AND...

JEALOUS.

COULD'VE FOOLED ME.

OH, 'CAUSE I'M A FOOL.

FINDING IT HARD...

BREATHING JUST LOOKING AT YOU.

WELL, OPEN YOUR MOUTH AND TAKE A BREATH.

I'M THINKING ABOUT YOU.

AND I LIKE WHAT I'M THINKING.

I'M GLAD YOU LIKE IT.

TRUTH IS, MIRANDA...

I PICKED UP THE PHONE...

SEVERAL TIMES...

UM...

TO CALL YOU.

COME HERE.

COME HERE.

JUST ANSWER ME ONE THING.

ARE YOU GOING TO GO WEIRD ON ME AGAIN?

I WANT A YES OR NO ANSWER.

YES. YES?

YOU ARE GOING TO GO WEIRD?

NO.

WELL, YES, I--I...

YES, I'M NOT GOING TO GET WEIRD ON YOU AGAIN.

GOOD.

LET'S...

LET'S GET OUT OF HERE.

O.K.?

WHERE TO?

[LAUGHS]

UM, I GOT TO GO TAKE CARE OF SOMETHING.

YOU O.K.?

LET'S MEET AT THE BARN.

THE BARN.

* STOP SAYIN' GOODBYE *

* BABY, JUST LEAVE... *

HEY.

KYLE...

UM...

I'M GOING TO GET A RIDE HOME WITH JAMES.

SO, UH...

YOU ASKING MY PERMISSION?

NO.

IT'S O.K. YOU CAN GO HOME WITH JAMES.

OH, THANK YOU.

YOU EXPECT HIM TO FALL IN LOVE WITH YOU?

I DON'T KNOW.

DO YOU?

I KNOW HIM.

HE'S NOT GOING TO.

GOOD NIGHT.

* I'M READY AND WAITIN' *

* TO TAKE YOU AWAY... *

I CAN'T PUT MY FINGER ON WHAT IT IS ABOUT YOU THAT TICKS ME OFF.

I'M NOT LETTING YOU OUT OF YOUR CONTRACT.

I'LL GET MYSELF A LAWYER.

OH, YEAH.

I TALKED TO THAT DOUG SISKIN.

I TOLD HIM YOU'D BE FREE TO SIGN WITH HIM...

IN ABOUT TWO YEARS.

GREAT.

I'VE BEEN IN THIS BUSINESS LONGER THAN YOU BEEN DRAWING BREATH.

I KNOW WHAT I'M DOING, JAMES.

AND I'M GOING TO KEEP YOU FAITHFUL.

THAT'S THE GUY YOU'RE WITH?

YEAH. R.C.

A MINOR-LEAGUE CORPORATE PIG.

YOU TOLD THAT GUY AT THE BLUEBIRD YOU DIDN'T HAVE A CONTRACT.

YOU LIED.

AND YOU SUDDENLY PRODUCE THIS BUSINESS CARD WHICH IMPLIES THAT I'M SPOKEN FOR.

SO WHAT ARE YOU SAYING?

WELL, YOU'RE LYING FOR THE BOTH OF US.

ALL RIGHT.

WOW.

THIS IS NICE.

I LIKE IT.

YOU KNOW, SHE'S GOT IT IN HER HEAD SHE'S GOING TO GO FOR...

THE MISS NASHVILLE CONTEST?

WHICH...

I'M SURE SHE'LL DO REALLY WELL.

SHE'S SO FUNNY, BUT...

I DON'T KNOW.

I THINK IT'S OLD-FASHIONED.

SHE REALLY CRACKS ME UP, THOUGH.

WHEN SHE TAKES THOSE GLASSES THAT ARE WRAPPED IN PLASTIC, WHICH ARE SANITARY ENOUGH, AND YET SHE WASHES THEM ALL THE TIME.

I NEED FOR YOU TO STOP MOVING THOSE LIPS NOW.


WAIT.

I NEED FOR YOU...

TO STOP PLAYING ME NOW.

MISS PRESLEY...

MISS PRESLEY...

JAMES, YOU'RE JUST TALKING TO YOURSELF, YOU KNOW.

MISS PRESLEY...

IS THAT YOU OR YOUR GHOST I SEE?

I DON'T KNOW.

I WAS CONCERNED THAT YOU...

LEFT ME...

TO GET ME BACK FOR NOT CALLING YOU LIKE I SHOULD'VE.

OH, NAH.

I JUST DON'T, UH, SLEEP...

MUCH.

HMM.

ESPECIALLY AT NIGHT.

[WHOO WHOO]

NIGHT OWL.

WHOO...

WHOO.

SOUNDS LIKE A WISE OLD NIGHT OWL.

WHOO-WHOO.

WHOO.

YOU'RE AN OWL GODDESS.

MY DAD, HE--HE WAS A NIGHT OWL.

WE USED TO STAY UP, YOU KNOW, ALL NIGHT, JUST HANGING OUT.

[SIGHS]

HE SPOILED ME PRETTY BADLY.

HE REALLY LOVED COUNTRY MUSIC...

A LOT.

I GUESS THAT'S WHY I CAME HERE.

WELL, I'LL...

SPOIL YOU AS GOOD AS I CAN.

ELVIS?

MM-HMM.

YOU CUT ELVIS' HAIR.

THAT'S RIGHT.

NAH, I DON'T BELIEVE IT.

BELIEVE IT.

YOU BELIEVE THAT, LUE?

WHY WOULD HE MAKE THAT UP?

WHY DON'T YOU GET YOUR HAIR CUT?

'CAUSE I DON'T WANT TO.

COME ON.

I DON'T WANT TO.

I'LL BE ELVIS, AND YOU CAN BE PRISCILLA.

I DON'T WANT TO BE PRISCILLA.

I'M NOT DOING IT 'CAUSE YOU WANT ME TO.

I'M TIRED OF DOING WHAT EVERYBODY WANTS ME TO.

GOOD IDEA. DON'T GET IT CUT.

WHY DIDN'T YOU ASK ME WHAT I THOUGHT ABOUT YOU MOVING OUT OF THE MOTEL?

WHY DOESN'T ANYBODY EVER ASK ME WHAT I THINK?

BECAUSE YOU'RE ALWAYS ASKING EVERYONE ELSE WHAT THEY THINK.

THAT'S RIGHT, AND YOU KNOW WHAT?

I'M NOT DOING IT ANYMORE.

IF I DON'T FEEL LIKE BEING NICE TO SOMEBODY, THEN I'M GOING TO START BEING MEAN-- OR IMPOLITE.

IF I FEEL LIKE TELLING SOMEBODY WHAT I THINK, I'M GOING TO TELL THEM.

AND BILLY THINKS WE'RE GETTING MARRIED BECAUSE HE WANTS TO?

WELL, I'M SORRY, BUT I GOT TO BE SOMETHING MYSELF BEFORE I CAN BE SOMEBODY'S WIFE.

THAT'S RIGHT.

OH, SHUT UP, PLEASE.

BUT I DON'T EVEN KNOW WHAT I CAN BE BECAUSE I'VE NEVER BEEN ANYTHING.

AND YOU-- YOU'RE NOT SO MUCH BETTER THAN ME.

YOUR DADDY'S BEEN DEAD OVER A YEAR, AND YOU STILL CAN'T SLEEP THROUGH THE NIGHT.

AND YOU ARE SO WORRIED ABOUT TURNING OUT LIKE EVERYBODY ELSE.

WELL, YOU KNOW WHAT?

I AM EVERYBODY ELSE.

AND TURNING OUT LIKE ME, NOW, WOULD THAT BE SO TERRIBLE?

AND WHO GETS THEIR HAIR CUT BY ELVIS' BARBER ANYWAY?

* IT'S NOT REALLY LOVE *

* IF IT TEARS YOU APART... *

[TRAIN HORN BLOWS]

I AM VERY SORRY.

I GUESS I'M JUST FALLING APART A LITTLE BIT.

BUT I WANT YOU TO KNOW I THINK YOU'RE VERY SPECIAL

'CAUSE YOU ALWAYS LIKE ME, AND THAT'S A PLUS IN MY BOOK.

GOD, DID I MAKE YOU CRY?

I LIKE YOUR HAIR.

THANKS.

MAYBE I SHOULD'VE GOTTEN MINE DONE.

YEAH. SHOULD WE GO BACK?

I DON'T THINK SO, MIRANDA.

YOU KNOW, I'VE BEEN SITTING HERE AND THINKING THAT, UM...

MAYBE I'LL GO TO HOLLYWOOD, BECOME A MOVIE STAR.

YOU'RE ASKING ME WHAT I THINK OF THE IDEA?

NO, I'M NOT.

WHAT ABOUT BILLY?

BILLY CAN DO WHAT HE WANTS.

I'M HAPPY.

I'M SO HAPPY.

ME, TOO.

OH, NO.

DON'T LOOK.

OH, NO.

DON'T LOOK.

I GOT TO GO TO WORK.

I GOT A BETTER IDEA.

YOU'RE SICK.

I'LL CALL IN FOR YOU.

"HELLO. IT'S MIRANDA.

"I CAN'T COME IN.

"I'M SICK.

I'VE GOT A TERRIBLE HEAD COLD."

O.K.

I'M SICK.

I GOT ANOTHER IDEA.

MM-HMM?

WHERE ARE WE GOING?

JUST GIVE ME A HINT.

CLUE.

"MEMPHIS."

MEMPHIS?

GRACELAND?

YEAH!

WE'RE GOING TO GRACELAND!

CLOSED?

NO.

I'M GOING TO HAVE TO BREAK IT DOWN.

NO!

ELVIS!

HELLO?

ELVIS!

HELLO?

SIR...

WE'RE CLOSED.

WHEN DO YOU OPEN?

9:00 IN THE MORNING.

Y'ALL COME BACK THEN.

AH, 14 HOURS TO KILL.

WHAT ARE WE GOING TO DO?

EAT.

LET'S GET ELVIS FOOD.

FOOD.

[LAUGHS]


I'M ALL SET, BABY.

COME ON, BABY.

WHAT?

OHH, LOOK HOW ROMANTIC.

STOP. THEY'RE GOING TO THINK YOU'RE FOR REAL.

I AM FOR REAL.

COME ON. GET UP.

SAY, "YES, I CAN'T LIVE WITHOUT YOU."

GO ON, HONEY.

SAY YES.

I WOULD MARRY HIM IF HE HAD ANY BRAINS, BUT HE DOESN'T HAVE THE SENSE HE WAS BORN WITH.

I'M GOING TO KNEEL RIGHT HERE UNTIL YOUR HEART MELTS.

SAY SOMETHING.

O.K. YES.

IS THAT WHAT YOU WANT?

ARE YOU HAPPY NOW?

HAPPY?

WHY, I'M THE HAPPIEST MAN ALIVE.

OHH. AW.

THAT'S PRECIOUS.

THANK YOU, LADIES.

THANK YOU KINDLY.

YOU CAN KEEP THE CHANGE.

Y'ALL GOING TO HAVE YOUR HONEYMOON AT GRACELAND?

COME ON, DEAR.

* IN A BED OF BROKEN HEARTS *

* BLUE ROSES... *

YOU RECALL THE FIRST TIME I MET YOU OUTSIDE THE BLUEBIRD?

I WAS LATE.

AND I MADE YOU PART OF MY LIE.

NOW, YOU CALLED ME ON THAT.

NO ONE HAS EVER DONE THAT BEFORE WITH ME.

AND I APPRECIATE IT.

I RESPECT YOU.

MY FATHER...

I DON'T KNOW WHY I'M TELLING YOU THIS.

I'VE NEVER TOLD ANYONE, BUT MY FATHER WOULD TELL MY MOTHER THAT WE WERE GOING OUT FOR A BOYS' NIGHT OUT ON THE TOWN.

AND WE WOULD GO TO HIS GIRLFRIEND'S HOUSE--

MY FIFTH GRADE HEALTH TEACHER--

AND I'D GO WAIT IN THE TRUCK LISTENING TO THE RADIO STATIONS, AND HE WAS INSIDE, YOU KNOW, DOING WHATEVER IT WAS THEY DID, AND I JUST REMEMBER ALL THOSE CHEATIN' SONGS...

HOW IT MADE PERFECT SENSE.

MOST EVERYONE...

BACK IN WIMBERLY...

SAYS THAT-- THAT I'M GOING TO BE JUST LIKE MY FATHER.

NOW...

HERE'S THE KING.

THEY'RE WRONG.

* WISE MEN SAY *

YOU HEAR THAT?

MMM.

* ONLY FOOLS RUSH IN *

LET'S DANCE.

IT'S DESTINY.

* BUT I CAN'T HELP *

* FALLING IN LOVE *

* WITH YOU *

* SHALL I STAY? *

[THUNDER]

* WOULD IT BE A SIN? *

JUST BACK FOR SOME COFFEE.

OH, LOOK, MARY.

IF IT AIN'T THE NEWLYWEDS.

HEY, YOU TWO LOVEBIRDS GET MARRIED YET?

COULDN'T FIND AN ALL-NIGHT WEDDING CHAPEL.

WELL, WE MIGHT'VE IF HE PLANNED THIS A LITTLE BETTER, BUT NO GRACELAND, NO PREACHER.

YOU WANT TO MARRY HER?

I KNOW SHE'S A HANDFUL, HOWEVER I'D DIE IF I LOST HER.

THAT'S BECAUSE YOU'D FORGET TO BREATHE IF I DIDN'T REMIND YOU.

THE TRUTH IS...

I LOVE HER DEEPLY.

WELL, IF YOU'RE SERIOUS, MY BROTHER'S A PREACHER.

I'LL GO GET HIM IF YOU WANT.

YOU'RE SERIOUS?

AS A HEART ATTACK.

YEAH, MAN.

YEAH, HE'S RIGHT NEXT DOOR.

PROBABLY JUST WATCHING TV.

I'LL BE RIGHT BACK.

WELL, UH--

YOU NEED A RING.

COLD FEET?

I FORGOT SOMETHING...

BLUE...IN THE TRUCK.

WILL YOU COME WITH ME?

HMM?

PLEASE?

HEY.

I'M GOING TO GET MY BOOM BOX READY.

OH...

O.K.

COME ON, LET'S GO.

WELL, WE CAN'T JUST LEAVE.

WE GOT TO LET THEM KNOW WE'VE CHANGED OUR MIND.

THE PREACHER'S ON HIS WAY--

NO. LOOK, UM, WE'LL JUST, UH--

WE'LL HAVE A FIGHT, AND I'LL PRETEND TO SLAP YOU.

GOT A BETTER IDEA.

WHAT?

LET'S GET MARRIED.

Y-YOU DON'T JUST GET MARRIED AS A JOKE.

IT'S NOT A JOKE.

IT'S A JOURNEY, LIKE THE OLD IRISH TRIAL MARRIAGES.

WHAT OLD IRISH TRIAL MARRIAGES?

WELL, IN ANCIENT IRELAND, THERE WAS ONE DAY WHERE YOU COULD GET MARRIED FOR A YEAR--

ARE YOU MAKING THIS UP?

NO, I DON'T THINK SO.

ANYHOW, YOU WOULD GET MARRIED, AND IF YOU WANTED TO SEPARATE, YOU'D GO BACK TO THE PLACE YOU GOT MARRIED AND RESOUND, "I DIVORCE YOU, I DIVORCE YOU, I DIVORCE YOU."

WHAT DO YOU THINK?

[GASP]

OH, MY GOD.

BY THE POWER VESTED IN ME BY THE STATE OF TENNESSEE AND BY THE ALMIGHTY GOD ABOVE, I NOW PRONOUNCE YOU MAN AND WIFE.

WELL, HUSBAND AND WIFE.

HUSBAND AND WIFE.

DOES THAT SOUND RIGHT?

OR MAN AND WOMAN?

MAN AND WOMAN.

YEAH.

MAY I KISS THE BRIDE?

WHATEVER. YOU'RE MARRIED. YOU MAY KISS THE BRIDE.

BUT I GET THE FIRST DANCE.

* MAKE THE WORLD GO AWAY *

* GET IT OFF, GET IT OFF MY SHOULDER *

MAY I HAVE THIS DANCE?

* SAY THE THINGS WE USED TO SAY *

* AND MAKE THE WORLD, MAKE IT GO AWAY *

* DO YOU REMEMBER WHEN YOU LOVED ME? *

* BEFORE THE WORLD TOOK YOU AWAY *

WE'RE HOME, BABY.

OHH, I HAD THIS DREAM WE GOT MARRIED.

OH, IS THAT WHAT THAT WAS, A DREAM?

NO, ME AND ELVIS.

I HAD THIS HUGE BEEHIVE ON MY HEAD.

O.K.

SHOULD I BE JEALOUS?

HEH HEH HEH.

MAYBE.

[IMPERSONATING ELVIS] MAYBE, BABY.

* BLUE ROSES *

* LOOKIN' FOR THE MOON IN SOMEONE'S EYES *

YEAH, THE 23rd WILL BE JUST FINE.

BYE-BYE.

HEY, LUCY, ISN'T THAT PAM TILLIS AND KEVIN WELCH OVER THERE?

YEAH. I LET THEM COME REHEARSE EVERY NOW AND THEN.

THEY BOTH GOT THEIR START RIGHT HERE.

REALLY?

YEP.

THEY PLAYING IN THE ROUND TONIGHT?

NO. THEY GOT SOME KIND OF BENEFIT OR SOMETHING.

WELL, LOOK AT YOU.

YOU CALLED IN SICK YESTERDAY, AND NOW YOU LOOK ABSOLUTELY...

MARRIED?

JAMES AND I GOT MARRIED.

YOU GOT MARRIED?

SHE GOT MARRIED.

WELL, DON'T LOOK TOO EXCITED ABOUT IT, LUCY.

WELL...

CONGRATULATIONS.

HEY, MIRANDA JUST GOT MARRIED TO JAMES.

GIVE ME A HUG, GIRL.

TO JAMES? OUR JAMES?

JAMES WRIGHT?

YEAH.

DID HE GIVE YOU A RING?

SURE DID. ISN'T IT BEAUTIFUL?

POP OPEN SOME CHAMPAGNE, LUCY.

HOW OFTEN DO PEOPLE GET MARRIED?

OFTEN ENOUGH.

* HAPPY EVER AFTER *

* COME ONE DAY AT A TIME *

[CAR RADIO] * AND THERE AIN'T NO ONE *

* TO TAKE YOU AWAY *

* FORGET THIS WAY TO LOVE-- *

* YOU CAN TAKE MY LOVE *

* IN THE FOREST GREEN *

* YOU CAN TAKE *

* MY LOVE *

* TO THE FOREST GREEN *

[APPLAUSE]

HEY, LOOK AT YOU!

DON'T I LOOK GOOD?

SO, DON'T KEEP ME IN SUSPENSE.

WHAT HAPPENED?

UM, OH. I WAS FOURTH RUNNER-UP.

CONGRATULATIONS. I GUESS.

SHE SHOULD'VE WON.

HER TALENT WAS THE BEST ONE.

PEOPLE WERE CRYING WHEN SHE DID HER SCENE.

I DID MY INTERPRETATION OF GONE WITH THE WIND.

"MISS SCARLETT! MISS SCARLETT!"

TELL HER WHY YOU LOST.

O.K.

WHEN THEY MADE ME A FINALIST, ALL OF A SUDDEN I HAD THIS IMAGE OF MYSELF AT THE GRAND OPENING OF A PIGGLY-WIGGLY, CUTTING A RIBBON IN A RED, WHITE, AND BLUE SEQUINED MAJORETTE OUTFIT.

AND I HAD TO SAY, "LINDA LUE LINDEN, THIS IS NOT A JOB.

"THIS IS NOT A CAREER CHALLENGE.

THIS IS BULLSHIT!"

ALL RIGHT, GIRL!

WHEN THEY CALLED MY NAME, I PRETENDED TO FAINT.

FELL STRAIGHT BACK.

THEY CALLED AN AMBULANCE.

I GOT TO PEE.

KYLE...

HOW'S THE MARRIED LIFE, JAMES?

SWELL.

IT'S QUITE GOOD.

GOOD. GOOD.

I WAS THINKING ABOUT IT.

WELL, CONGRATULATIONS ARE IN ORDER, SO GO RIGHT AHEAD.

CONGRATULATIONS.

WHY, THANK YOU.

YEAH, SHE'S A...

DAMN GOOD WIFE.

SHE'S...

REAL GOOD.

WHY DO YOU HAVE TO TELL ME THAT, MAN?

IT'S THE TRUTH.

YEAH, BUT THE TRUTH CAN HURT.

SEE? DO YOU UNDERSTAND?

YOU GOT NO RIGHT TOUCHING ME LIKE THAT.

YOU GOT NO RIGHT TALKING ABOUT HER LIKE THAT.

YOU GOT NO RIGHT.

KEEP IT TO YOURSELF.

SOMEBODY OUGHT TO SHUT YOU UP!

OH...

HEY, BOYS, TAKE IT OUTSIDE.

I'LL JUST SHUT YOU UP!

TAKE IT OUTSIDE, BOYS! OUT!

YOU'RE MAKING A FOOL OF YOURSELF, A DAMN FOOL OF YOURSELF!

I'LL KILL YOU!

DO YOU HEAR WHAT I'M SAYING?

BACK OFF!

BETTER SLAP ME HARD, MAKE THAT FIRST ONE COUNT.

JAMES, STOP IT!

KYLE, STOP!

JAMES, KYLE, COME ON.

KYLE, LET'S GO.

LET'S GO, COME ON.

NO! NO!

STOP IT! COME ON!

LEAVE HIM ALONE.

KYLE, STOP IT!

JUST TRYING TO KEEP HIM FROM HURTING HIMSELF.

BILLY, GET IN THERE AND DO SOMETHING!

Y'ALL STOP IT NOW!

THAT'S A BIG HELP.

COME ON, BILLY!

[BILLY] KYLE... COME ON.

IT'S OVER. IT'S OVER.

KYLE...

IT'S OVER.

WHY Y'ALL GOT TO ACT SO STUPID?

WHOO!

HA HA HA HA!

HEY, DONNA...

* AIN'T NO TRAIN OUT OF NASHVILLE *

* ONCE YOU GET HERE YOU CAN'T GO ANYWHERE *

* THERE AIN'T NO TRAIN OUT OF NASHVILLE *

* MA AND PA, GET ME OUT OF HERE *

[CHANGING STATIONS]

THERE AREN'T NOTHIN' BUT DAMN LOVE SONGS.

EVERYBODY I LOVE'S MARRIED TO EVERYBODY ELSE.

[TIRES SCREECH]

* I'M HAPPY, YOU'RE TIRED-- *

HERE'S A BRAND-NEW SINGLE FROM MISS TRISHA YEARWOOD.

* IF YOU COULD READ MY MIND *

THAT'S MY SONG.

* YOU'D KNOW HOW HARD I TRY *

* BUT LOSIN' WAS NOT MY PLAN *

* AND I CAN'T-- *

GOD!

MAN, I CAN'T BELIEVE IT! WHAT'S GOING ON?

DIDN'T YOU SEE THE STOP SIGN?

THAT'S MY SONG!

WELL, THAT'S MY CAR!

THAT'S MY SONG PLAYING ON THE RADIO!

YOU WROTE THAT SONG?

YEAH!

A LOT BETTER SONGWRITER THAN YOU ARE A DRIVER.

YOU WASN'T EVEN LOOKING.

THAT'S HIS SONG ON THE RADIO.

THAT'S MY SONG!

DAMN...

MAKES YOU WANT TO PAT YOUR FOOT, DOESN'T IT?

SHOULD'VE PATTED THE BRAKE ONCE.

HEY, HE GOT TWO HITS IN ONE DAY!

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT ME SOMETHING TO LIVE FOR *

* I GOT SOMETHING TO PROVE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT A REAL FINE WOMAN *

* AND HER HEART IS STRONG *

* WELL, SHE CAN SEE RIGHT THROUGH ME *

* AND HER LEGS ARE LONG *

* SHE DON'T GIVE ME NO TROUBLE *

* AND SHE DON'T TAKE MINE *

* SHE AIN'T THE REASON I'M A-LIVIN' *

* BUT SHE'S THE REASON I BEEN TRYIN' *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* I GOT ME SOMETHING TO LIVE FOR *

* I GOT SOMETHING TO PROVE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

* YOU MIGHT BE HAPPY FLYIN' AIRPLANES *

* YOU MIGHT BE HAPPY BUILDIN' CARS *

* SOME PEOPLE ALWAYS DO THE RIGHT THING *

* SOME PEOPLE NEVER GET THAT FAR *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GOIN' NOWHERE *

* I'M STANDIN' ON A ROCK *

* AND I AIN'T GONNA MOVE *

MIRANDA, WHERE'S MY BLUE SHIRT?

IN THE HAMPER.

I HAVEN'T WORN IT SINCE I WASHED IT.

I GUESS SOMEBODY ELSE WORE IT, THEN.

OUGHTN'T YOU TO WASH IT, THEN?

I'M NOT YOUR MAID.

MIRANDA, YOU CAN WEAR MY SHIRT IF YOU LIKE.

HOWEVER, YOUR DIRT MAKES IT YOUR LAUNDRY.

JAMES, IT'S NOT THAT DIRTY.

YOU COULD WEAR IT.

I CAN'T. IT SMELLS LIKE YOUR SOAP.

I CAN'T STAND EVERYTHING SMELLING LIKE THAT SOAP!

MY SOAP IS STARTING TO SMELL LIKE YOUR SOAP!

THEN YOU MIGHT AS WELL WEAR THE SHIRT.

YOU'RE IMPOSSIBLE TO LIVE WITH.

HOW WOULD YOU KNOW?

LOCK YOURSELF IN A ROOM FOR THREE DAYS, THEN COME OUT AND SAY, "WHERE'S MY BLUE SHIRT?"

AND WHEN ARE YOU EVER AWAKE DURING THE DAYLIGHT HOURS?

THAT IS NOT THE POINT!

YOU GO INSIDE, YOU LOCK THE DOOR, AND I'M NOT EVEN ALLOWED IN.

HOW COME YOU GET A ROOM LIKE THAT?

'CAUSE YOU'RE SUCH A BRILLIANT WRITER AND I'LL NEVER BE ANYWHERE NEAR AS GOOD AS YOU?

WHY DO YOU GET A ROOM?

I'VE LIVED HERE FOR A WHILE.

I PAY THE RENT.

OHH!

I WAS NOT PLANNING ON HAVING YOU SUPPORT ME, IF THAT'S WHAT YOU THOUGHT.

NO.

RENT'S NOT DUE FOR A WEEK, BUT I'LL GIVE IT TO YOU NOW SO YOU DON'T THINK I'M TRYING TO SCAM YOU.

MAYBE I ALWAYS MARRY GUYS SO I CAN LIVE IN A HOUSE FOR FREE AND BE IGNORED.

SEEMS AS THOUGH YOU'VE MADE A CHECK OUT FOR "SELFISH ARROGANT DICKHEAD."

MM-HMM.

THEY'LL CASH IT. THEY KNOW IT'S YOU.

THEY DO?

WHAT IS A DICKHEAD, EXACTLY?

YOU.

IF I'M A DICKHEAD AND YOU'RE MARRIED TO A DICKHEAD, WHAT DOES THAT MAKE YOU?

AN IDIOT.

YOU'D THINK WE'D BE THE PERFECT MATCH--

AN IDIOT... AND A DICKHEAD.

YOU WOULD THINK.

OUR FIRST FIGHT.

I'M NOT GOING TO WASH YOUR SHIRT.

I KNOW THAT.

* YOU DON'T KNOW WHAT SHE'LL DO *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

I DON'T KNOW ABOUT THAT LAST LINE.

BEST LINE IN YOUR SONG.

HELL OF A LINE.

REALLY?

YEAH, ABSOLUTELY.

WELL, YOU'RE THE EXPERT, RIGHT?

OH, I HAVE THAT MONEY I OWE YOU.

NOW WE'RE EVEN.

HEY, COME ON. SHE'S LETTING PEOPLE IN.

COME ON, GET ON THE STICK.

DON'T BE LATE.

GOOD LUCK TODAY.

THANKS, NED.

COME ON.

[MIRANDA] LET'S SEE...

* TONIGHT *

* WHOLE WORLD'S GOIN' CRAZY *

* ALMOST AS CRAZY AS I FEEL *

* THERE'S A COLD RAIN *

* ISN'T IT AMAZING? *

* THAT'S NOT SUPPOSED TO BE THE DEAL *

* THERE'LL BE TORNADOES IN THE TRAILER PARK *

* AN ECLIPSE WILL MAKE THE WHOLE WORLD DARK *

* JUST WHEN YOU THINK SHE'S GOT NO HEART *

* SHE'LL BREAK A SUNNY DAY *

* MOTHER NATURE... *

YEAH.

THANK YOU.

IF I CALL YOUR NAME, IT MEANS YOU'RE GOING TO PLAY HERE SATURDAY NIGHT, AND GET HERE BEFORE 7:00.

CAROL ANN HARRIS.

JERRY WARD.

RUSSELL CROWNE.

JOANNE DANIEL.

LESTER SHARPE.

CONGRATULATIONS, EVERYBODY.

WELL, GOT TO GET TO WORK.

WELL, THAT SOUNDS LIKE A DEAL.

SURE WILL.

I'LL SEE YOU TOMORROW.

GOD BLESS.

[CAR APPROACHES]

OH, MY BABY.

HEY.

DARLIN' MIRANDA.

WHAT ARE YOU DOING?

GUESS WHAT HAPPENED. I TALKED TO R.C.

YEAH?

I WORKED THINGS OUT.

I LEAVE FOR AUSTIN THIS EVENING.

FOR AUSTIN?

HE'S GIVING ME COMPLETE CREATIVE CONTROL.

I HAVE TO GIVE HIM A BUCK EVERY TIME I SMACK SOMEONE.

HOW LONG WILL YOU BE GONE?

DON'T KNOW. A MONTH OR TWO.

A RECORD, IT'LL TAKE SOME TIME, NO DOUBT.

WOW, A MONTH OR TWO.

WHAT ABOUT ME?

YOU GOING TO QUIT YOUR JOB JUST TO HANG AROUND AND WATCH ME RECORD?

I THOUGHT YOU'D WANT TO STAY HERE, HAVE A LIFE, SETTLE INTO OUR HOUSE.

AND DO WHAT?

DO WHAT?

DON'T KNOW.

WHAT DOES ONE DO, ANYWAY?

THERE'S A NUMBER OF THINGS YOU COULD DO.

YOU COULD WRITE SONGS, BIRD-WATCH.

OH, JAMES, WHY DON'T YOU JUST BE STRAIGHT WITH ME?

YOU DON'T WANT ME TO GO ALONG.

EVER SINCE WE GOT MARRIED, YOU'VE BEEN PUSHING ME AWAY.

I'M NOT SAYING THAT.

WERE YOU PLANNING ON ASKING ME TO GO WITH YOU?

I HAVEN'T GIVEN IT MUCH THOUGHT.

NO, OBVIOUSLY NOT.

AM I TO TAKE CARE OF YOU, MYSELF, MY MUSIC?

TAKE CARE OF ME?

YOUR TROUBLES.

MY--MY TROUBLES?

IS THIS IT?

WHAT TROUBLES WOULD THOSE BE?

WHAT, THE FACT THAT I'M YOUR WIFE AND YOU'RE SPLITTING TOWN FOR TWO MONTHS AND YOU DON'T EVEN ASK ME TO GO?

IS THAT THE TROUBLES YOU'RE SPEAKING OF?

MAYBE I'M NOT THE MARRYING TYPE IF MARRIAGE IS THIS.

IF YOU'RE SO SCARED OF TURNING OUT LIKE YOUR FATHER, YOU BETTER TAKE A GOOD LOOK AT YOURSELF.

ARE YOU DRUNK?

AM I...WHAT? AM I DRUNK?

WHY? WHY WOULD YOU SAY THAT?

BECAUSE YOUR MOTHER HAD TO GET DRUNK TO DEAL WITH YOUR FATHER?

YOU KNOW, YOU ACT SO INTENSE, SO CALM, SO COOL AND COLLECTED.

THE TRUTH IS, YOU'RE SO FUCKING SCARED.

YOU'RE AS SCARED AS A LITTLE BOY.

GET AWAY.

IT DOESN'T HAVE TO GET THIS UGLY.

I DIVORCE YOU, I DIVORCE YOU, I DIVORCE YOU.

[DOOR SLAMS]

[SLAM]


* CRAZY *

* I'M CRAZY FOR FEELIN' *

YOU CALL ME UP, AND YOU TELL ME YOU'RE DIVORCED AND THAT YOU DON'T WANT TO TALK ABOUT IT ANYMORE.

* I'M CRAZY *

I STILL DON'T WANT TO TALK ABOUT IT.

WHEN DO YOU THINK YOU MIGHT LIKE TO TALK ABOUT IT?

DO YOU LOVE ME, KYLE?

UH, WH-WHAT?

ARE YOU IN LOVE WITH ME?

STRAIGHT ANSWER.

YOU--YOU WANT ME TO TELL YOU HOW I FEEL ABOUT YOU?

YEAH.

O.K.

O.K.

UH...

SOMETIMES YOU HEAR A SONG ON THE RADIO, AND IT'S JUST THE SONG YOU WANT TO HEAR RIGHT THEN, AND THEN IT'S OVER, AND YOU'RE JUST GLAD YOU HEARD IT.

AND I'M LIKE THAT SONG?

NO.

YOU'RE NOTHING LIKE THAT SONG.

YOU'RE LIKE IF THERE WAS...

ONE SONG IN THE WORLD THAT I COULD HEAR FOR THE REST OF MY LIFE.

YOU'RE THAT SONG.

KIND OF LIKE YOUR FAVORITE SONG, YOU MEAN.

DON'T DO THAT.

I USED TO HAVE A FAVORITE SONG.

DON'T MAKE A CLICHE.

YOU ASKED ME, SO I TOLD YOU.

I'M SORRY.

YOU'RE RIGHT.

I DON'T KNOW WHAT I'M DOING.

I THINK I'M JUST GOING TO GO HOME TO NEW YORK.

WHY?

BECAUSE NOTHING IN MY LIFE IS WORKING HERE.

UH...

WHY DID YOU COME TO NASHVILLE?

YOU CAME HERE TO FIND YOURSELF, RIGHT?

WELL, GUESS WHAT. IN NEW YORK...

YOU'RE GOING TO BE LOOKING FOR THE SAME PERSON.

[DOOR OPENS]

OH, HI, HON.

I DIDN'T THINK YOU WERE WORKING TONIGHT.

NO, I'M NOT. UM...

I'M QUITTING.

I'M GOING TO GO BACK TO NEW YORK, SO DON'T TRY AND TALK ME OUT OF IT.

WELL, I WON'T.

I'LL JUST SAY GOODBYE.

COME HERE.

* BUT REGARDLESS *

* OF WHAT LOVE IS *

* WE ARE ALL BLESSED *

* JUST THAT LOVE IS *

YOU GOT IT, JAMES. YOU'RE COOKING, BUDDY.

YOUR ATTENTION, PLEASE.

THIS IS THE FINAL CALL FOR BUS 18 TO NEW YORK CITY.

BUS 18 FOR NEW YORK CITY, THIS IS YOUR FINAL BOARDING CALL.


* MAMA TOLD HER BABY GIRL, TAKE IT REAL SLOW *

* GIRL TOLD HER MAMA, HEY, I REALLY GOT TO GO *

* HE'S WAITIN' IN THE CAR *

* MAMA SAID, GIRL, YOU WON'T GET FAR *

* THUS ARE THE DREAMS OF AN AVERAGE JANE *

* 90 MILES AN HOUR DOWN A LOVERS' LANE *

* ON A TANK OF DREAMS *

* OH, IF SHE COULD'VE ONLY SEEN *

* THE FACE GOD CARVES THAT IT DON'T WANT TO SHOW *

* AND THAT BOY'S JUST A WALK-AWAY JOE *

* BORN TO BE A LEAVER *

* TELL YOU FROM THE WORD GO *

* DESTINED TO DECEIVE HER *

* HE'S THE WRONG KIND OF PARADISE *

* SHE'S GONNA KNOW IT IN A MATTER OF TIME *

* THAT BOY'S JUST A WALK-AWAY JOE *

* OOH, YEAH *

* ALL HE WAS WAS A WALK-AWAY JOE *

* OOH OOH OOH *

[JAMES] * I'VE BEEN LOST *

* ON STREETS OF PLENTY... *

I'LL CALL HIM LATER.

THIS IS ONE HELL OF A TAKE, JAMES.

ONE HELL OF A TAKE!

WHAT'S THE MATTER, BUDDY?

NOTHIN'.

NO, THIS IS A--

THIS IS A GOOD TAKE.

YOU LIKE IT.

MMM.

ABSOLUTELY.

* AIN'T WORTH A QUARTER *

* IT'S MUDDY WATER *

* UNTIL NOW *

* THERE'S A LIGHT *

* THAT SHINES FOREVER *

* THERE'S A LIGHT *

* THAT SHINES FOR ME *

* THERE'S A LIGHT *

* MY FOOTSTEPS GUIDIN' *

* FOR I'VE BEEN HIDIN' *

* UNTIL NOW *

* THE LOVE I FOUND *

* WAS DARK AND DUSTY *

* FOR I MISTRUSTED *

* UNTIL NOW *


AHEM.

SHE LEFT TOWN?

WELL, YES, SHE DID.

WHERE TO? DO YOU KNOW?

YOU DID THE RIGHT THING, JAMES.

YOU CAME BACK FOR HER.

THANK YOU. NEW YORK? IS THAT WHERE SHE WENT?

I DON'T KNOW, JAMES.

HOME?

KYLE.

IT'S GOOD TO SEE YOU.

WHAT'S GOING ON?

MIRANDA LEFT ME.

OH, YEAH?

YEAH.

DID SHE GO TO NEW YORK? I MEAN, SHE--

DID SHE?

SHE SAID SHE MIGHT.

O.K. THAT'S WHAT I WANT TO HEAR, THE TRUTH.

SHIT.

I'M SORRY.

NO.

I'M SORRY... ABOUT EVERYTHING.

NO, I JUST--I JUST-- I JUST MEAN THAT...

LOOK, IT REMINDS OF THE OLD STORY OF THE GREEN KING AND THE RED KING, WHERE THEY BATTLE EACH OTHER EACH YEAR FOR THE FAVOR OF THE LADY IN WHITE.

TAKE TURNS DYING.

WHAT DO YOU MEAN, I'M DEAD THIS YEAR?

WELL...

THIS YEAR WE'VE BOTH, UM...

KICKED THE BUCKET.

YEAH.

WHAT I'M SAYING IS, IT'S THE NATURE OF THINGS.

TWO GUYS AND A...

A GIRL.

SEE WHAT I MEAN?

IT'S THE OLDEST STORY IN THE BOOK.

EXCEPT I BLEW IT.

* I'VE GOT A HEART *

* AND, BABY, THAT'S MY PROBLEM *

* I WANNA KNOW... *

* MUSCLE AND BLOOD *

* I KNOW NOW *

* WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE *

* I'M MORE *

* LIKE MYSELF NOW *

* THAN I EVER WAS *

* AND I *

* DON'T REGRET IT, BABY *

* I'M NOT AFRAID OF WANTING YOU *

* I KNOW NOW *

* WHAT I'M MADE OF *

* SKIN AND BONE *

* MUSCLE AND BLOOD *

* I KNOW NOW WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE... *

HEY, LUCY.

WELL, LOOK WHO'S HERE.

I GOT A SONG.

YEAH? WELL, YOUR HUSBAND'S OVER THERE.

HE CAME BACK FOR YOU.

WELL, I CAME BACK FOR MYSELF.

GOOD FOR YOU.

LISTEN, YOU THINK YOU COULD BREAK ONE OF THOSE RULES FOR ONCE?

WELL...

YOU READY?

YES, MA'AM.

WELL, THEN LET'S SEE WHAT WE CAN DO.

ALL RIGHT.

* I KNOW NOW *

* WHAT I'M MADE OF *

* SKIN AND BONE *

* MUSCLE AND BLOOD *

* I KNOW NOW WHAT ROAD I'M ON *

* I'M A VAGABOND *

* ON THE STREETS OF LOVE *

* HONEY, I'M A VAGABOND *

* ON THE STREETS OF LOVE *

WELL, WE THOUGHT THAT WAS IT, BUT IT TURNS OUT THAT...

MIRANDA PRESLEY IS THE FAT LADY FOR TONIGHT.

GREAT SONG.

HEY.

I'M REALLY PROUD OF YOU.

YEAH, UM, I'M GLAD YOU CAME BACK.

YEAH, ME, TOO.

GOOD.

GOOD LUCK.

UH...

THIS IS SOMETHING NEW.

* I HAVE A DREAM OF MY OWN *

* AND IT'S MINE AND MINE ALONE *

* IT'S BEEN MY FRIEND *

* SINCE I WAS JUST A GIRL *

* IT HAS A LIFE *

* IT HAS A HEART *

* HAS A SOUL *

* AND IT'S A PART *

* OF EVERYTHING THIS WOMAN GIVES THE WORLD *

* AND IT'S A BIG DREAM *

* BIG ENOUGH TO SHARE *

* LIKE A RAINBOW *

* HANGIN' IN THE AIR *

* AND I THANK GOD FOR MAKIN' IT COME TRUE *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE GOD'S A WOMAN, TOO *

* THERE'S A FULL MOON TONIGHT *

* AND I'M BATHING IN ITS LIGHT *

* NAKED AS THE DAY *

* THAT I WAS BORN *

* THERE IS NO SHAME BENEATH THIS SKY *

* I HAVE KISSED THE PAST GOODBYE *

* AND MENDED UP MY BROKEN HEART SO TORN *

* WITH A SWEET SOUND *

* ONLY I CAN MAKE *

* AND IT GETS STRONGER *

* WITH EVERY BREATH I TAKE *

* AND IT'S ALL A PART *

* OF MAKING ME FEEL NEW *

* MAKES ME THINK MAYBE *

* GOD'S A WOMAN, TOO *

* MAKES ME THINK MAYBE GOD'S A WOMAN, TOO *

[APPLAUSE]

YOU WERE WONDERFUL.

OH, MY GOD. WHAT ARE YOU DOING BACK?

YOU WERE SO GOOD. YOU REALLY WERE.

THANKS, BILLY. I HAD SOMETHING TO TAKE CARE OF.

I SHOULD SAY SO. WHAT A SURPRISE.

I JUST CAME HERE TO SAY GOODBYE TO KYLE, AND THEN THERE YOU WERE.

WHERE ARE YOU GOING?

O.K. LISTEN UP, EVERYBODY.

I'LL TELL YOU IN A MINUTE.

IF I READ YOUR NAME, YOU'LL SING HERE SATURDAY NIGHT.

YOU HAVE TO BE HERE BEFORE 7:00.

"DAVID WARNER...

"KYLE DAVIDSON...

"JULIE FREDERICKS...

"MISSY PARKER...

AND MIRANDA PRESLEY."

[APPLAUSE]

I'M SO PROUD OF YOU.

I'LL MEET YOU BY THE CAR.

COME ON, BABY. WE'LL SEE YA.

DID YOU FIND KYLE?

I DIDN'T SEE KYLE. I SAW FLOYD.

HEY!

YOU SHOWED 'EM!

THAT WAS GREAT.

YEP, SOMETIMES IT PAYS TO BREAK THE RULES.

ALL RIGHT.

THAT WAS SO LOVELY. PURE.

YES, FLOYD, GO FIX SOMETHING.

I WAS GOING TO SAY THAT.

I'LL HELP.

I DIDN'T MEAN TO INTERRUPT OR ANYTHING.

CAN I SPEAK WITH YOU?

YEAH, SURE. WHAT'S UP?

I NEED TO HAVE A WORD WITH YOU IN PRIVATE.

OH. O.K. ALL RIGHT.

PLEASE.

YEAH.

THANK YOU.

THAT WAS SO SOULFUL, WHAT YOU DID UP THERE.

SO?

I MISSED YOU.

BAD.

WHAT HAPPENED WITH YOUR ALBUM?

IT'S O.K.

I HAD TO COME BACK TO RETRIEVE OUR LOVE.

SO THIS IS CONVENIENT FOR YOU NOW?

I WAS SCARED THAT I MIGHT NOT SEE YOU AGAIN, AND...

I REALIZE MY FAULT IN ALL THIS.

SOUNDS LIKE A SONG.

A SONG THAT WE SHOULD WRITE TOGETHER.

YEAH?

I'M STILL YOUR HUSBAND.

NO, WE GOT DIVORCED...

IF YOU REMEMBER CORRECTLY.

WELL, IT DOESN'T COUNT.

WE GOT TO GO TO THE SAME SUPERMARKET IN MEMPHIS FOR IT TO BE PROPER.

YEAH?

O.K.

WE GOT A DATE.

WE GOT A DATE TO GET DIVORCED?

YEAH.

ALL RIGHT!

LOOKS LIKE YOU MADE IT INTO LUCY'S HALL OF FAME.

LUCY...

THAT'S A BIG DEAL.

THANKS, LUCY.

IT'S A GOOD START.

MM-HMM.

ALL RIGHT, Y'ALL.

ALL RIGHT.

UH, JAMES...

BAGS?

HUH.

YES, MISS MIRANDA.

UH-OH. UH-OH.

[WOOF WOOF WOOF]

WELL, IT LOOKS LIKE YOU BOTH PULLED A LINDA LUE AND CHANGED YOUR MINDS, HUH?

I, TOO, HAVE CHANGED MY MIND.

I'M NO LONGER GOING TO HOLLYWOOD, BUT I'M GOING TO NEW YORK TO STUDY SERIOUS ACTING.

NEW YORK?

I TOLD HER SHE OUGHT TO STUDY COMEDY.

COMEDY IS PART OF SERIOUS ACTING, BILLY.

HEY, THERE'S KYLE OVER THERE.

HEY, KYLE DAVIDSON, DON'T YOU GET IN THAT CAR WITHOUT SAYING GOODBYE TO ME!

COME ON, GET OVER HERE!

YOU, QUIT BEING SUCH A HANDFUL.

ALL RIGHT.

GOODBYE.

GOOD LUCK IN NEW YORK.

THANK YOU.

SEE YOU, SWEETIE.

O.K.

DON'T EVEN SAY GOODBYE TO ME.

JUST COME HERE.

HEY, LINDA LUE, IS THAT YOUR FACE I SEE?

YOU KNOW, THERE IS SOMETHING THAT YOU NEVER UNDERSTOOD ABOUT ME.

OH, JESUS!

THAT AIN'T VERY CHRISTIAN, LINDA LUE!

YOU COULD'VE HAD ME FOR A SONG.

HEY.

FOR GOOD LUCK.

OH, GOD!

YOU WANT ME TO WEAR A YANKEES CAP?

OH!

DAMN YANKEES.

OTHER SIDE.

WATCH YOUR DAMN DOG.

GET OVER, BILLY.

[ARF ARF]

[LINDA LUE] COME ON, LET'S GO.

SEE YOU TWO...

THREE.

SO LONG!

LOOK OUT, NEW YORK CITY, 'CAUSE HERE I COME AND I AIN'T NEVER LEAVING!

WHOO!

WELL, LET'S ALL TAKE A DRIVE IN MY TRUCK.

COME ON.

SO WHEN WE MEET AS FRIENDS, MY HEART WILL BREAK AGAIN.

IF THAT'S HOW THE STORY ENDS, * THEN I CAN'T UNDERSTAND *

YEAH, I UNDERSTAND.

HEY, JIMMY.

WHAT?

I GOT THIS IDEA FOR A SONG.

WHAT'S THAT?

WELL, THERE'S THESE TWO KINGS, SEE?

AND THEY'RE BOTH ALWAYS FIGHTING OVER THE SAME FAIR-HAIRED MAIDEN.

SOUNDS FAMILIAR.

YEAH. I'LL DO THE MUSIC, YOU DO THE LYRICS, AND MIRANDA CAN SING IT.

SOUNDS GOOD.

HEY, I GOT AN IDEA.

WHY DON'T I WRITE THE LYRICS AND YOU TWO GUYS CAN SING THE TUNE?

YOU'RE KIDDING.

YOU GOT A PROBLEM WITH THAT?

WE'RE ALL IN AGREEMENT. ABSOLUTELY.

GOOD. I'M GLAD. WHOO!

* YOU GOT A THING OR TWO *

* TO LEARN ABOUT ME, BABY *

* 'CAUSE I AIN'T TAKIN' IT NO MORE *

* AND I DON'T MEAN MAYBE *

* YOU DON'T KNOW RIGHT FROM WRONG *

* THE LOVE WE HAD IS GONE *

* SO BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* WELL, ALL I WANTED *

* WAS TO BE YOUR ONE AND ONLY *

* AND ALL I EVER GOT FROM YOU *

* WAS BEIN' LONELY *

* NOW THAT IS LAID TO REST *

* 'CAUSE YOU HAVE FAILED THE TEST *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* ARE YOU HEADED FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* WELL, YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU DONE ME, HONEY *

* AND WHEN SHE DOES YOU LIKE SHE'LL DO YOU *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* ARE YOU HEADED FOR A HEARTACHE? *

* OH, YEAH *

* GONNA GET A BAD BREAK *

* OH, YEAH *

* MADE A BAD MISTAKE *

* OH, YEAH *

* WELL, YOU'RE NEVER GONNA FIND *

* ANOTHER LOVE LIKE MINE *

* WELL, SOMEONE'S GONNA DO YOU *

* LIKE YOU DONE ME, HONEY *

* AND WHEN SHE DOES YOU LIKE SHE'LL DO YOU *

* WELL, IT AIN'T FUNNY *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* YOU'LL NEED SOME SYMPATHY *

* BUT DON'T BE CALLIN' ME *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

* HEY, BLAME IT ON YOUR LYIN', CHEATIN' *

* COLD, DEAD-BEATIN' *

* TWO-TIMIN', DOUBLE-DEALIN' *

* MEAN, MISTREATIN' *

* LOVIN' HEART *

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